feck GREEK SCULPTURE 


LATER GREEK SCULPTURE 


Pye lbs INFLUENCE ON EAST AND WEST 


By 
A. W. LAWRENCE 


Sometime Craven Fellow in the University of Oxford, 
Student of the British School of Archaeology 
at Athens and of the British School 
at Rome 


als} 


NEW YORK 
Pawo OURT, BRACK AND COMPANY 


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“Lonpon a Sune 


OO UNG TEE NEES 


CHAPTER 
LIST OF ILLUSTRATIONS 
PREFACE 
I. INTRODUCTORY 
2. THE FIRST HUNDRED YEARS, 334-240 B.C. 
3. THE ASCENDENCY OF PERGAMON, 240-140 B.C. 
4. THE LATE HELLENISTIC PERIOD, 140-27 B.C. 
5 


- ADAPTATIONS OF OLDER WORK AND OTHER 
DECORATIVE SCULPTURES 


6. THE WEST IN THE HELLENISTIC AGE 
7. THE HELLENISTIC EAST 


8. THE HELLENISTIC TRADITION IN INDIA AND 
THE FAR EAST 


BIBLIOGRAPHY 

APPENDIX 
THE BEGINNING OF THE HELLENISTIC AGE 
LAST QUARTER OF THE FOURTH CENTURY 
Circa 300 
FIRST HALF OF THE THIRD CENTURY 
MIDDLE OF THE THIRD CENTURY 
LATER THIRD CENTURY 


Circa 200 


PAGE 


PAGE 


EARLY SECOND CENTURY is 
MIDDLE OF THE SECOND CENTURY 118 
LATE SECOND AND EARLY FIRST CENTURIES 121 
EARLY NEO-ATTIC 127 
LATER FIRST CENTURY 128 
AUGUSTAN 130 
CARTHAGE 131 
THE ALPS 19g 
MAGNA GRACIA 131 
CENTRAL ITALY 133 

ADDENDA—RECENTLY PUBLISHED SCULPTURES 134 
ADDITIONAL REFERENCES 134 

PLATES 

INDEX OF SUBJECTS hoe 


INDEX OF PLACES AND MUSEUMS 145 


vi 


eee OF Telus reRA LLONS 


Plate 1 ‘Terracotta statuettes of Eros (Boston). 

Plate 2 ‘Terracottas of comic actors (Metropolitan Museum). 
Plate 3a ‘Terracotta negro-boy (Oxford). 

Plate 3b ‘Terracotta of old woman and child (Dresden). 
Plate 3c ‘Terracotta of idiot (Boston). 

Plate 4a Head of Meleager (Rome-Villa Medici). 

Plate 4b Female head from Cyzicus (Dresden). 

Plate 5 Statuette of boxer (Metropolitan Museum). 
Plate 6 Female head from Chios (Boston). 

Plate 7a Aphrodite (Capitoline Museum). 

Plate 7b Head of Aphrodite (Dresden). 

Plate 8 Female head (Cambridge, Mass.—Fogg Museum). 
Plate ga Female statue (Metropolitan Museum). 

Plate 9b Maenad (Dresden). 

Plate 10a Head of boy (Metropolitan Museum). 

Plate 1ob Head of Alexander (Acropolis Museum). 

Plate roc Head of Ariadne (Athens). 

Plate 11a So-called Jason (Louvre). 

Plate 11b Male statuette (Providence). 

Plate 12 Daughter of Niobe (Vatican). 

Plate 13 Son of Niobe (Uffizi). 

Plate 14 Youth from Subiaco (Rome-National Museum). 
Plate 15 Youth from Cythera wreck (Athens). 

Plate 16a Gold comb from Solokha (Hermitage). 

Plate 16b Bronze head of boxer (Athens). 

Plate 17a Bearded head of god (Alexandria). 

Plate 17b Head of goddess (Alexandria). 

Plate 18a Small head of philosopher (Metropolitan Museum). 
Plate 18b Head of Menander (Philadelphia). 

Plate 19  Silenus carrying infant Dionysus (Munich). 
Plate 20a Pan (Dresden). 

Plate 20b Head of Demosthenes (Oxford). 

Plate 21 Girl with dove (Munich). 

Plate 22a Head of boy (Alexandria). 


Vil 


Plate 22b 
Plate 23a 
Plate 23b 
Plate 24a 
Plate 24b 
Plate 25a 
Plate 25b 
Plate 26 
Plate 27 
Plate 28a 
Plate 28b 
Plate 29 
Plate 30a 
Plate 30b 
Plate 31a 
Plate 31b 
Plate 32 
Plate 33 
Plate 34a 
Plate 34b 
Plate 35 
Plate 36 
Plate 37a 
Plate 37b 
Plate 38 
Plate 39 
Plate 40 
Plate 41a 
Plate 41b 
Plate 42 
Plate 43 
Plate 44 
Plate 45 
Plate 46a 
Plate 46b 
Plate 47 


LATE RGR E ER Ss.CaU Loe al- Uren 


Bronze head of satyr-boy (Munich). 

Seated girl (Rome-Conservator1). 

Melpomene (Vatican). 

Head of Muse (Dresden). 

Head of prince (Leyden). 

Bronze statuette of crouching Aphrodite (Louvre). 
Back view of seated Heracles (Metropolitan Museum). 
Front view of above. 

Bronze head of Berber (British Museum). 

Bronze boxer (Rome-National Museum). 

Head of above. 

Marsyas (Constantinople). 

Slave grinding knife (Uffizi). 

Satyr inviting nymph to dance (reconstruction). 
Head of above Satyr (Louvre). 

Head of above nymph (Dresden). 

Dying Gaul (Capitoline). 

Head of dying Asiatic (Rome-National Museum). 
Head of Silenus (Naples). 

Barberini satyr (Munich). 

Head of Sleeping Fury (Rome-National Museum). 
Head of Queen Arsinoe of Egypt (Boston). 

Head of Euthydemus of Bactria (Rome-Torlonia). 
Wounded Greek (Venice). 

Fragment of fighting Gaul (Metropolitan Museum). 
Marsyas (Rome-Conservator1). 

Sleeping Hermaphrodite (Rome-National Museum). 
Relief of family sacrifice (Munich). 

Sleeping Eros (Rome-Conservator1). 

Gravestone of Metrodorus (Berlin). 

Battle of gods and giants (Berlin). 

Female head from Pergamon (Berlin). 

Relief of dancing girl (Constantinople). 

Head of Alexander from Pergamon (Constantinople). 
Head of centaur (Rome-Conservatori). 


Torso of satyr (Naples). 


vill 


Plate 48a 
Plate 48b 
Plate 48c 
Plate 49 
Plate 50 
Plate 51a 
Plate 51b 
Plate 52 
Plate 53 
Plate 54 
Plate 55 
Plate 56a 
Plate 56b 
Plate 57 
Plate 58a 
Plate 58b 
Plate 59a 
Plate 59b 
Plate 60 
Plate 61 
Plate 62a 
Plate 62b 
Plate 63 
Plate 64 
Plate 65a 
Plate 65b 
Plate 66 
Plate 67 
Plate 68a 
Plate 68b 
Plate 68c 
Plate 69 
Plate 70 
Plate 71 
Plate 72 
Plate 73 


A Sete Oo Fer lelel Uys) ly ROAR SL OUNSS 


Head of so-called Seneca (Rome-National Museum). 
Head of so-called Seneca (Naples). 
Fragment of female statue (Tegea). 
‘Telephus frieze (Berlin). 


Female statue from Magnesia (Constantinople). 


Bronze statue of Demetrius I (Rome-National Museum). 


Head of above. 

Zeus from Pergamon (Constantinople). 

Head of Athena (Constantinople). 

Fragments by Damophon (Athens and Lycosura). 
Drapery by Damophon (Athens). 

Head of Persephone (Metropolitan Museum). 
Bronze portrait head from Delos (Athens). 
Portrait statue from Delos (Athens). 

Head of above. 

Gravestone from Smyrna (Berlin). 

Head of young man (Athens). 

Head of old man (Athens). 

Relief of family (Berlin). 

So-called Menander (Vatican). 

Head of Pompey (Ny Carlsberg Glyptotek). 
Head of Cotys of Thrace (Athens). 

Erotic group from Delos (Athens). 

‘Turbaned head of youth (Athens). 

Silenus (Athens-Theatre). 

Caryatid (Eleusis). 

Sea-monsters from Basis of Ahenobarbus (Munich). 
Laocoon (Vatican). 

Head of old woman (Dresden). 

Head of old peasant (Dresden). 

Old woman (Metropolitan Museum). 
Archaistic relief of Seasons (Louvre). 
Caryatid from Tralles (Constantinople). 
Dancer from Pergamon (Berlin). 

Lady from Delos (Athens). 

Head of above. 


1X 


Plate 74 
Plate 75 
Plate 76 
Plate 77 
Plate 78 
Plate 79 
Plate 80 
Plate 81a 
Plate 81b 
Plate 82 
Plate 83 
Plate 84 
Plate 85 
Plate 86a 
Plate 86b 
Plate 87a 
Plate 87b 
Plate 88 
Plate 89 
Plate goa 
Plate gob 
Plate 91 
Plate 92a 
Plate g2b 
Plate 93 
Plate 94a 
Plate 94b 
Plate 95 
Plate 96 
Plate 97a 
Plate 97b 
Plate 98 
Plate 99 


LAT ER GERor Ee Ks .O Ueler Tu eRe rh 


Boy boxer (Constantinople). 

Head of above. 

Aphrodite from Cyrene (Rome-National Museum). 
Head of Aphrodite (Boston). 

Fragment of Ariadne ? (Prado). 

Eleusinian deities, relief of Lacrateides (Eleusis). 
Relief of Euripides (Constantinople). 

Archaistic female head (Metropolitan Museum). 
Head of Sleeping Ariadne (Rome-National Museum). 
Imperial family, from Ara Pacis (Uffizi). 
Neo-Attic vase (Metropolitan Museum). 

Relief of Maenad (Rome-A bani). 

Relief of Maenad (Rome-Albani). 

Relief of Bacchic revel (Naples). 

Stucco panel of landscape (Rome-National Museum). 
Relief of dancer (Athens). 

Stucco Victory (Rome-National Museum). 
Statuette of Demeter ? (Vatican). 

Neo-Attic gravestone (Cagliari). 

Sarcophagus of priestess (Carthage). 

Apulian relief (Boston). 

Stone throne (Rome-Corsini). 

Relief of soldier from Taranto (Hague). 

Cast from terracotta mould (Hague). 

Man’s sarcophagus (Toscanella). 

Woman’s sarcophagus (‘Toscanella). 

Terracotta frieze, repulse of Gauls (Bologna). 
Man’s sarcophagus (‘Toscanella). 

Marble urn (Florence). 

Terracotta head from Falerii (Rome-Villa Giulia). 
Bronze orator (Florence). 

Urn (Tomb of Volumnii). 

Alabaster urn (Volterra). 


Plate 100a Terracotta urn (Rome-Villa Giulia). 
Plate 100b Bone carving (Chicago). 


Plate 101 


Procession on urn (British Museum). 


Xx 


ie Ol) lel US i ReAgT LON Ss 


Plate 102a Fragments from  Fluteplayer’ss Monument (Rome- 
Antiquarium). 

Plate 102b Orpheus from the same. 

Plate 103 Portrait head from Palestrina (Berlin). 

Plate 104a Relief with family group (Palmyra). 

Plate 104b Gravestone of Baalyaton (Ny Carlsberg Glyptotek). 

Plate 104c Egyptian portrait (Munich). 

Plate 105a Terracotta musicians from Babylonia (British Museum). 

Plate 105b Statuettes from Babylonia (British Museum). 

Plate 106a Parthian coins (British Museum). 

Plate 106b Relief on Nimrud Dagh. 

Plate 107a Palmyrene gravestone of lady (Louvre). 

Plate 107b Himyarite head (Brussels). 

Plate 108a Lion capital (Sarnath). 

Plate r08b Capital with rider (Sarnath). 

Plate 108c Railing from Buddh Gaya (Calcutta). 

Plate roga Pillar from Bharhut (Calcutta). 

Plate rogb Buddhist Saint (Berlin). 

Plate 110 Panel of woman and tree (Berlin). 

Plate 111a Chinese stela (Chicago). 

Plate 111b Chinese statue of Goddess of Mercy (Metropolitan Museum). 

Plate 112a Chinese head of Saint (Chicago). 

Plate 112b Japanese bronze of Goddess of Mercy (Horyuji). 


XJ 


PR PACE 


over sculpture of the transition from Greek to 
Roman times reached a high level (of which such relics 
as the Dying Gaul and the Venus of Milo have long 
testified), although too it possesses unusual historical 
value from its influence in subsequent centuries through- 
out Asia as well as within the Roman Empire, yet few 
scholars could trace the lines of its development, some 
of their essays on the period are noticeably out of date, 
while the others are concerned with problems rather 
than established facts, being addressed to archeologists 
only. Classical students have, in fact, worked more 
upon earlier sculpture, with the result that no attempt 
has been made to index the vast literature on later 
objects that lies scattered among learned publications. 
In the hope that the present book may serve both 
ordinary readers and specialists, | have cleared the text 
of controversy and provided an Appendix to absorb 
dull matter ; the text mentions few works that are not 
illustrated in the Plates, but the Appendix gives a list 
of the important sculptures of the period arranged 
according to their probable dates. In most cases 
reasons for so dating them have already been stated in 
articles to which reference is made, and to avoid unduly 


Xill 


LAVIGE RR) GeR EE KS si CU Pats U ROE 


lengthening the book I have been compelled to rely 
upon the context to indicate the works with which each 
should be compared. I shall expect the forgiveness of 
my colleagues for omitting detailed reasoning, as such a 
list allows them to test the accuracy of my classification 
as a whole ; bad as it is, I fail to see that this method is 
more unsatisfactory than the orthodox one, of lengthy 
arguments on scanty material, adopted in previous 
assaults on a subject which, however complex, must form 
and be presented as a coherent whole. 

The main thesis, continuity in ancient European 
sculpture, has been treated within the time-limits 
offered by the commencement of Alexander’s conquests 
and the foundation of the Roman Empire; the story 
of the eastward spread of Greek art cannot be so com- 
pressed, for a sketch of sculpture in the Oriental 
provinces of Alexander’s successors must be written 
with a glance forward at monuments of the Roman 
period, while it would be absurd to break off an account 
of Indian Hellenism at Augustus’ time, when the move- 
ment had not attained full growth and had not begun 
to supply the Far East with its hybrid style of Greek 
inspiration. I should have preferred to omit the 
chapter on the Near East because the evidence so far 
accumulated is too disjointed to be adequately sum- 
marised, but some mention of Alexandria and Antioch 
was obviously required and these cities ought to be seen 

X1V 


PERGE REA Cer 


in their environment ; the widespread impression that 
Gandharan art is a legacy of Alexander rendered a 
passage on India imperative. 

I was enabled to travel to all essential museums by 
the aid of the Craven Fund of Oxford University, and 
I must express my gratitude to the Committee for the 
freedom allowed me. I have too, received much kind 
assistance from scholars in various parts of the world 
whom I cannot thank individually ; I must, however, 
acknowledge my special indebtedness to Mr. Sidney 
Smith for advice on Oriental matters and for reading 
the manuscript of Chapter VII (he is not, of course, to 
be held responsible for its contents), and to my wife, 
B. I. Lawrence, for constant help throughout. 

The illustrations have been drawn largely from 
American museums and have in general been selected to 
include as many unpublished or unfamiliar objects as 
possible ; negatives are the property of the museums 
concerned except in the case of Athens or when a note 
to the contrary is inserted. For permission to reproduce 
photographs I have to thank Dr. E. Breccia of the 
Alexandria Museum; Dr. Buschor of the German 
Institute at Athens ; the Director of the Indian Section 
and Dr. K. A. Neugebauer of the Berlin Museums ; 
Dr. P. Ducati of the Civic Museum, Bologna; Dr. 
L. D. Caskey of the Museum of Fine Arts, Boston ; 
M. L. Speleers of the Brussels Museum; Dr. E. W. 


XV 


LAW ERG ROEDER Ss CU be Per URE 


Forbes of the Fogg Art Museum, Cambridge, Mass. ; 
Rev. Fr. Delattre of the Lavigerie Museum, Carthage ; 
Dr. C. F. Kelly of the Art Institute, Chicasomeain 
D. C. Davies of the Field Museum, Chicago ; Macridy 
Bey of the Constantinople Museum; Mr. H. Ingholt 
of the Ny Carlsberg Glyptotek, Copenhagen; the 
Director and Dr. W. Miller of the Albertinum, Dresden; 
Dr. C, W. Lunsingh Scheurleer of the Hague; Miss 
J. P. J. Brants of the Museum of Antiquities, Leyden ; 
in London, Messrs. H. B. Walters, E. J. Forsdyke, 
H. R. Hall, Sidney Smith and E. S. G. Robinson of the 
British Museum, Mr. W. T. Ottewill of the India 
Office, Mr. E. Maclagan of the Victoria and Albert 
Museum, Mr. J. Penoyre and Mr. F. N. Pryce for the 
Society for the Promotion of Hellenic Studies; Dr. 
Paul Wolters of the Glyptothek, Munich ; Mr. H. W. 
Kent, Miss G. M. A. Richter, and Miss C. Alexander 
of the Metropolitan Museum, New York; Dr. D. G. 
Hogarth of the Ashmolean Museum and Mr. S. Casson, 
Oxford ; M. E. Michon of the Louvre, M. J. B. Chabot, 
and the Director of the Imprimerie Nationale, Paris ; 
Dr. G. B. Gordon of the University Museum, Philadel- 
phia; Mr. L. Earle Rowe of the Rhode Island School 
of Design, Providence ; Dr. R. Paribeni of the National 
Museum, and Dr. W. Amelung of the German Institute, 
Rome. The firms of F. Bruckmann (Munich), Paul 
Geuthner (Paris) and Walter de Gruyter & Co. (Berlin) 


XV1 


PERSE REAL Cre 


have generously allowed the use of copyright photo- 
graphs. 

The type was already set up before I had access to 
Goblet d’Alviella, Ce gue Inde doit a la Grece, or to 
Kammerer, Essai sur [histoire antique a’ Abyssinie (both 
by Geuthner, Paris, 1926); a few references will be 
found to the British School of Rome Catalogue of the 
Palazzo dei Conservatori, the proofs of which were not 
long available to me. Ai list of Addenda includes minor 
publications up to January, 1927. 


XVil 


Cee AT Pale bites 


TSNeTeR OD. Cale O Ray 


Re NDER’s eastern conquests reduced Greece itself 
into a politically and economically unimportant section 
of his empire, but its cultural superiority to the greater 
part of his new realms remained unimpaired. ‘The sole 
exception was the A‘gean coast of Asia Minor ; in the 
sixth century the Ionian cities here were the most ad- 
vanced and wealthiest of the Greek world, under the 
light control of Lydia, and later of Persia; they were 
eclipsed by Athens only as a result of harsh treatment 
received from the Persians after an abortive revolt in 499, 
and on Alexander’s removal of artificial barriers, the 
natural fertility of the country and its central position 
on land and sea traffic-routes brought it again into a 
dominant position. 

The three hundred years during which Alexander and 
his successors ruled the East is usually known as the 
Hellenistic Age, since newly Hellenised regions count 
more politically than the genuinely Hellenic. In art the 
situation is reversed. It must be constantly borne in 
mind that the typical cosmopolitan art of this period is 
purely Hellenic and that the chief art-centres lie around 
the AZgean ; it is true that it is the eastern shore which 

I 


LATER GREEK SCULPT URE 


now takes the lead but the character of the population is’ 
identical. Athens and the rest of Greece produced no 
first-class sculpture, expensive gravestones were pro- 
hibited by an Athenian sumptuary law of 321, and the 
terracotta industry at ‘Tanagra did not outlast the third 
century ; Alexandria was the favourite home of science, 
literature and luxury, but art soon ceased to flourish 
there ; Syracuse was never productive ; ‘Tarentum was 
fast declining and the other South Italian cities had al- 
ready decayed ; we know nothing of any art at Antioch. 
The wealthy Pergamon produced no literature but had 
no peer in architecture, sculpture or painting, and the 
other business cities of the eastern A®gean (Rhodes, 
Tralles, Delos, Magnesia), yield the rest of the notable 
sculptures of these centuries, while most of the terracottas 
came from Smyrna or Myrina, a small place that be- 
longed to Pergamon. One style prevails everywhere 
(apart, of course, from the poorer work of backward 
regions like Cyprus, Egypt or Apulia) and this cosmo- 
politanism is explained by the fact that artists travelled 
constantly ; signatures from the Altar of Pergamon 
include Athenians, Trallians, Rhodians, as well as 
Pergamenes, and we know that this is a typical case. 

Yet the obvious differences between later and earlier 
Greek sculpture are largely due to the Hellenistic 
system of absolute monarchy and extensive kingdoms. 
The history of Alexander’s earliest successors is chiefly 

2 


IpNeie Re OF DSUs Cele ORRsy 


occupied with the almost constant warfare that divided 
and re-divided the passive, half-desert empire which he 
had left them. In general, the Ptolemies were only 
secure in Egypt ; the Seleucids held Syria and varying 
amounts of country further east and in Asia Minor ; 
the kings of Pergamon owned the west of Asia Minor, 
while Greece and the islands passed in turn under the 
protection of a Ptolemy, a Seleucid, or anybody else. 
Other kingdoms have no significance for art, but the 
growth of Rome is of vital importance; Greece was 
annexed in 146, Pergamon in 133, Cyrene in 96, Syria 
in 65, Egypt in 30. The early extinction of the Per- 
gamon dynasty is most regrettable as no other royal 
house patronised art on the grand scale; Ptolemaic 
buildings, it is true, were not uncommon, but in 
Egypt they followed the style of the Pharaohs. 

Before studying the effect of Macedonian and Roman 
autocratic rule, it is essential to examine the psycho- 
logical basis of Greek art. A fundamental difference 
between the Greek temple and the Assyrian or Persian 
palace or the Egyptian temple, results from the right of 
every citizen, according to the average Greek con- 
stitution, to a direct share in the governing of his state ; 
thus the self-respect of the individual asserts itself in each 
figure, whilst to the Oriental the king is the nation, all 
others are the king’s servants, and such dignity as their 
figures possess is due to their service. In the Greek 


3 


LAT E RGG RiECEVRY Ss (CoU- CrP eD UsRe RP 


state (usually consisting only of one or two towns), a 
small electorate and the absence of a professional civil 
service (a feature imitated in the United States con- 
stitution, designed of course for a small electorate), gave 
rise in the city-population to a quality of patriotism now 
only faintly echoed in rising American towns. ‘This in- 
tense pride in the city-state developed into wider racial 
pride from contact with less civilised foreigners and from 
a somewhat untruthful version of the defeat of Xerxes’ 
invasion of Greece. The Greeks’ remarkable interest in 
the human body was inspired partly by the citizens’ pride 
in what he could offer to the State in time of need (war 
was the normal relation between states unless they es- 
pecially declared to the contrary), partly by his homo- 
sexual conception of love. Women played no important 
part in Greek life, except that of raising new citizens, 
and Pericles’ remark that the best woman is not spoken 
of for good or evil, represents the ordinary view; it 
sounds strange from the mouth of Aspasia’s lover, but she 
was merely a courtesan who owed her education to the 
facilities of social intercourse she gained by her profes- 
sion. For a love, then, which should include com- 
panionship besides physical passion, an educated Greek 
could only go to unmarriageable women like Aspasia 
or to young men of his own sex. It is easy to under- 
stand that a cultivated taste in male beauty would be 
formed in a nation given to such love attachments and 


4 


TaNG eR OD. UECe ORY, 


to the passionate friendships which take their place in 
less strongly-sexed and less complicated natures (that of 
Achilles and Patroclus is an early literary example), 
especially when the nation was gifted with a high stan- 
dard of physical development due to the prevalence of 
amateur athletics. ‘That the artistic impulse turned so 
largely towards statues may be attributed to the Greek 
landscape of strong nude hills ; similarly a country like 
Holland or Flanders, flat and inviting a rectangular lay- 
out, calls forth paintings characterised by precise 
draughtsmanship. 

The peculiarities of Greek art, then, arise from patriot- 
ism, from individual self-respect, fostered by the import- 
ance of the citizen in Hellenic democratic systems, and 
from an abnormal interest in the male body. In the 
Hellenistic period, athletics became professional, and war, 
except in small states of Greece proper, the business of 
mercenaries. [he average man accordingly lost his 
interest and taste in male beauty, as did many of the 
artists. In statues of public persons “‘heroic nudity” is 
still essential to indicate a super-human nature, but they 
have heavy, powerful bodies, extremely conventional- 
ised and unconvincing to the trained eye of an amateur 
athlete, bodies like cart horses (pl. 51a). In statues of 
athletes the weak man’s tendency to exaggerate strength 
is revealed in huge limbs, bulging muscles and brutal 
faces, like those of the bronze Boxer in Rome (pl. 28) : 


* 


LAT ER (GoRSEsE KS CC, Us PiU, RE 


admiration of the Magnificent Beast is bred in the artificial 
life of great cities, so that the vigorous characters Theo- 
critus described for the Alexandrians are Hellenistic 
prototypes of the cow-boys of modern fiction and of the 
ape-man, Tarzan, an American conception which has 
appeared in almost all European languages. ‘The Gaul- 
ish invasions of Greece, Asia Minor and Italy, gave a new 
subject to art, the incredible courage of these Zulus of 
the ancient world, otherwise the cult of the noble savage 
did not flourish, for savages were too accessible to in- 
spire romantic feelings. Substitutes were found in the 
satyrs (frankly comic in archaic art, charming animals 
in the fourth century) who become expressions of the 
desire for physical fitness that comes upon the brain- 
worker—they are healthy, active beings, remote from the 
commonplace sanity of the streets and from an endless 
pursuit of what is Vanity. 

Homosexual love was now declining; the interest in 
women’s bodies noticeable in the time of Praxiteles was 
soon widespread, especially in the East; Phcenicia is 
reported to have been full of songs of adultery, one of 
which has survived on the wall of a Palestinian tomb, and 
the great poet of intersexual love, Meleager of Gadara, 
was a Palestinian and possibly a contemporary of the 
Jew who composed the “Song of Solomon” from a 
collection of village marriage-songs. ‘The inferiority of 
the pioneer female statues may be attributed in part to 

6 


IS Nicte RO; DEUS Ces OERaY, 


the fact that failure is more conspicuous in an experi- 
mental female nude than in a male statue constructed 
according to a conventional scheme of proportions, in 
part to a lack of criteria which may have caused the 
choice of unfortunate models: the inactive life of most 
Greek women must have encouraged the soft, plump 
type favoured by sculptors and treated as typical in the 
erotic literature’s debates on the comparative merits of 
male and female, the sole alternative to this ideal lying 
in the muscular Amazon who corresponds to the peasant- 
woman of the hills. ‘The tendency of female figures is 
to become steadily slimmer, and improvements were still 
being made in the time of the Antonines when an apple- 
breasted type was evolved. But another difference 
must be noted between the statues of women and their 
predecessors, the young athletes ; the intention is not 
so much to be beautiful as to be seductive, and in nearly 
every case the subject is not a mortal but Aphrodite. 
Herein lies the clue to a practice that was now formed 
and has been followed ever since in most countries, of 
not representing a woman’s body in its entirety ; the 
idea was foreign to archaic Greek and to Etruscan art 
and was born, together with the idea of the seductive- 
ness of woman, in the large Hellenistic cities. 

The autocratic system of Hellenistic monarchies 
brought about a decrease in the opportunities and duties 
of the individual, so there are few citizen statesmen and 


7 


LAT E Re G REE Kees GrUsLoP Tt UL RE 


soldiers, types so frequent in early sculpture. Portraits 
of these monarchs are idealised to express their heroic 
strength of character in the same way as athletes’ muscles 
are exaggerated (pl. §1). Portraits of philosophers 
are also idealised to express their wise and unworldly 
character, for they were, of course, equivalent to leaders 
of religious sects; in this capacity their images were set 
up and venerated everywhere. 

The commonest variety of portrait is the sepulchral 
statue of any ordinary man or woman sufficiently 
wealthy to afford such a monument ; in these the heads 
were realistic and they alone were important, the bodies 
were of stock types and only present because busts had 
not yet come into fashion. Honorary statues which 
were frequently granted by grateful public organisa- 
tions, fall in the same class ; as a matter of fact they were 
usually paid for by the recipient of the dignity, and are 
indistinguishable from the sepulchral statues of such per- 
sons. The rich did not, as a rule, patronise sculpture for 
other reasons ; the falling-off of their political import- 
ance lessened their desire for public service and increased 
their inclinations towards luxury; they no longer 
lavished their fortunes on embellishing the city but built 
large, comfortable houses, decorated with paintings and 
mosaics, with perhaps a statue copied from the Old 
Masters they were taught to admire at school, and some- 
times with a statue or two of members of the family. 

8 


IN TRO DIU Crh OTR Y 


Houses were spacious but, since most people did not 
want to live with statues, the majority of decorative 
sculpture was neither large nor in the grand style; 
faith in the gods was not so intense in these enlightened 
days, they were therefore represented merely by herms 
and by statuettes of the more attractive deities such 
as Aphrodite (female nudes often appeal to a male mind 
in which esthetic feeling is otherwise dormant) or Eros 
(no longer the serious grown boy of the fifth and fourth 
centuries, but the sportive Cupid of all subsequent times, 
e.g.. a group of third century terracottas from a tomb 
at Eretria, pl. 1). Cheap statuettes of genre subjects 
were successful—children or comic actors (among a set 
found in a fourth century tomb at Athens were the three 
illustrated on pl. 2, one of which is disguised as a woman); 
caricatures were innumerable—burlesques of famous 
statues, old women (pl. 3), negroes (pl. 3), dwarfs, idiots 
(pl. 3) and all kinds of deformed creatures, rendered 
more humorous by abundant obscenity. Scenes of 
country life were not invented till the first century B.c., 
when they achieved great popularity. 

It will now be clear that the charge of decadence that 
was formerly brought against the sculpture of the 
Hellenistic Age rests on a misconception of its true 
character. ‘Those who would like this to be a continua- 
tion of the Age of Phidias will continue to condemn it ; 
those who appreciate progress and are content to take 


9 


LATER GREEK SCULPTURE 


it on its own merits will realise the intrinsic value of 
this vigorous attempt to express a more complex 
mentality, while an influence on art in many parts of 
the world will always evoke unusual interest. 


IO 


Cee Abeer shar ce 


feeb i RST HUNDRED YEARS 
334-240 B.c. 


I HAVE chosen 334, the year in which Alexander began 
his conquest of Asia, as the upper limit of this book, 
not because the date marks a turning point in art, but 
because the ordinary text-books cease to be definite 
after this, the time of the Sophocles statue, of the temple 
of Artemis at Ephesus and the monument of Lysicrates at 
Athens. ‘The situation was this: expressionless render- 
ing of certain type-figures (the youth, the man, the girl, 
the woman), such as was perfected with the Parthenon, 
had given place to an emotional rendering, but the same 
type-figures continued and the expression alone differ- 
entiated the gods and satyrs of Praxiteles. A few 
illustrations will show how far sculptors had progressed. 
A typical male head (pl. 4a), from a statue of Meleager 
out hunting with his dog, is possibly an original work by 
Scopas, but no one can tell with certainty as it has 
weathered from standing in the open in the gardens of 
the Villa Medici on a body that does not belong to it. 
The young man (pl. 5) is wearing ear-guards and so is 
designated as a boxer ; there is nothing individual about 
him, body and face are both of the conventional “youth” 
II 


LA ER’ GoRrE, B2Kyes; CLUSLaPli Ue RAE 


type of which the Meleager is an outstanding example. 
The girl’s head (pl. 6) has been smoothed over till the 
surface is like wax, but a careful examination reveals 
delicate modelling which proves it to be structurally 
an imitation of the earlier style of Praxiteles and its date 
is not long after 350 B.c. ; the hair was supplied in stucco 
and painted, not to save marble (the head comes from 
Chios, which was within easy reach of the Parian quarries) 
but to avoid unnecessary labour. A head from Cyzicus 
(pl. 4b) seems to be contemporary. The Capitoline 
Aphrodite (pl. 7a) is a copy, of the first century A.D., 
from a statue of which the Dresden head (pl. 7b) gives 
a truer representation. The woman’s head (pl. 8) 
probably formed part of a mourning figure placed on a 
tomb, such as the conventional statue (pl. ga), which, 
with a copy of Scopas’ figure of a Maenad dancing in 
Dionysiac ecstasy (pl. gb) illustrates the treatment of 
drapery. A boy’s head (pl. 10a) is a good Roman 
copy of an interesting experiment in the manner of 
Lysippus’ early years. : 

Lysippus is known to have been Alexander’s favourite 
sculptor and a general resemblance to his Apoxyomenus 
and Agias (so far as the bad contemporary copy at Delphi 
is evidence for it) make it possible that the Athens head 
(pl. rob) was taken from one of his portraits of the king : 
he was the author, too, of the statue of a youth fastening 
his sandal, of which many copies survive (pl. 11a). A 

12 


etek bel RSet He NUDEIRGE DYE ARES 


statuette from Cnidus (pl. r1b) is an original by a 
member of his school. 

The magnificent Victory of Samothrace in the Louvre 
is most likely the memorial of a battle, fought in the 
Dardanelles just after Alexander’s death in 323, that 
resulted in the disappearance of Athens for ever as a 
naval power. It was formerly thought that a coin-type 
of Demetrius Poliorcetes—a Victory blowing a trumpet 
—was taken from this statue, which would therefore 
have commemorated his battle of 307, but if correctly 
restored, the right arm would be stretched upwards, 
possibly holding a wreath to crown the conqueror ; 
moreover, Samothrace belonged to a personal enemy 
who would not have allowed Demetrius to use his land 
for such a purpose. ‘The coin, therefore, is probably a 
slightly later imitation. ‘The Louvre figure is a supreme 
example of the fourth century style free from the 
characteristic tricks of later drapery ; the head may be 
reconstructed on the lines of a contemporary original, 
the Deserted Ariadne (pl. roc), discovered on the south 
slope of the Acropolis at Athens, although the expression 
would of course be different. A well-known group, 
the Massacre of the Niobids, belongs to the same period ; 
one of the original figures survives, Niobe’s eldest 
daughter running for her life (pl. 12), and there are 
copies of the rest ; the left arm of the son (pl. 13) has 
been wrongly restored, he is in reality supporting a 


ne 


LATER GREEK SCULPTURE 


younger sister, who is lying wounded at his feet, while 
with his right arm he holds out his drapery as a shield 
against the arrows of Apollo and Artemis. ‘The head of 
Niobe seems, to judge by the divergent copies extant, 
to have so closely resembled that of the Deserted Ariadne 
that they must surely have been by the same artist, 
whose name so far remains unknown. A statue of a 
kneeling youth from Nero’s villa at Subiaco (pl. 14) is 
allied to the Niobids, but the peculiarly smooth work- 
manship, probably of Nero’s own age, leaves few 
criteria for the style of the original ; the subject too is 
uncertain, but the position of the legs proves that the 
body is being pushed downwards, perhaps by the attack 
of a horseman or centaur. In the crouching youth 
(pl. 15) we have a copy of something similar, corroded 
by sea water as it comes from an Augustan ship wrecked 
off the south of Greece ; it has been interpreted as the 
shepherd boy stalking a nymph of some erotic group, 
which is borne out by the expression on his face. 

The well-known “ Sarcophagus of Alexander,” from 
the royal burial place at Sidon, most likely held the body 
of the last king, a Pheenician called Abdalonymus, 
whom Alexander set on the throne about 332; the 
style of the beautiful coloured reliefs frequently recalls 
the Niobid group and thus helps to fix its date. An 
analogous scene (pl. 16a) forms the handle of a gold 
comb buried with a Scythian prince in a tumulus in 


14 


feneton Fr leR Sot (HU N DIRSE D YEARS 


South Russia, an excellent specimen of the metal work 
executed for the nomads by Greeks of the Black Sea 
colonies and placed in great quantities in the graves of 
late fourth and third century chiefs; the designs are 
in some cases purely Greek and in others, such as this 
comb, related to the formalised groups of animals 
produced by the Sarmatian bronze-smiths in Siberia, 
whose art had an influence on primitive China. 

Fourth century men and women, under the influence 
of strong emotions, have an intense look for which the 
deepset eyes and heavy overhanging brows are largely 
responsible, and at the commencement of the next 
century portraits too are strained and lowering. Such 
an expression was, of course, highly approved by the 
military monarchs as it was designed to increase the 
impressiveness of their appearance, and it is present (by 
nature or design) on the faces of modern Latin autocrats. 
But the passionate style is not limited to kings: it is 
applied to gods and goddesses (e.g., the heads from 
Alexandria, pl. 17a, b), philosophers (pl. 18a), and even 
to the comic poet, Menander (342-291), whose statue 
by the sons of Praxiteles stood in the theatre at Athens 
(pl. 18b). 

_ This was not the only style employed at the beginning 
of the third century ; side by side with these super- 
human beings, whose faces are obscured by the great 
masses of flesh pressed out under their excessive burden 


Oh 


LACT E RUG IRE E RSC UeLaPai iO hoe 


of thought or emotion, there remained the precise, 
clear-cut portraits familiar in the fourth century, and of 
these the bronze boxer (pl. 16b) is a notable example. 
The Silenus carrying the infant Dionysus (pl. 19) is 
also from a bronze, of perhaps a few years earlier, but in 
the same manner ; the date of the original of a Pan 
(pl. 20a) is not easy to determine though it cannot be 
far from 300. Eventually the precise manner and the 
lumpy combined and produced the familiar statue of 
Demosthenes (the best copy of the head is one recently 
discovered, pl. 2ob) ; the bronze original by Polyeuctus 
dates from 280, more than fifty years after Demosthenes’ 
death, when any contemporary likeness would have 
appeared primitive and inadequate, hence no trace of 
an older style can be discerned and it must be considered 
a fanciful portrait, especially as it closely resembles the 
heads of Epicurus who died in 270. 

By this time the study of drapery had led to new 
developments. In the latter part of the fourth century 
a crinkly cloth was occasionally suggested, and by 300 
its mode of representation had been perfected ; it is 
found in the copies of Eutychides’ statue of the Fortuna 
of Antioch, seated above the river Orontes, who is 
swimming past her feet; in the Girl from Anzio at 
Rome, a poor copy from a bronze ; also in a number 
of statues of infants or children holding sacrificial 
birds (thanksgivings for offspring) a fine example of 

16 


feniete rel RIS) HeUeN DeRe EDs Y EARS 


which is the girl with a dove (pl. 21). Young children 
had not previously been allowed more than a subsidiary 
place in art; except on a few Attic gravestones of the 
middle of the fourth century, they appear mere dolls. 
The Hellenistic types of face are well illustrated by a 
fragment from Alexandria (pl. 22a) and a bronze satyr- 
boy (pl. 22b), a fine head of the middle of the third 
century. The divergent lines of the drapery and the 
twisted pose which we find in the Fortuna of Antioch 
occur too in a statue of a girl (pl. 23a), the original of 
which has been plausibly attributed to Eutychides, 
and the well-known Sleeping Ariadne, a carefully- 
plotted drapery study, may be derived from a statue of 
the same period. The Vatican group of Muses, very 
popular in Roman days to judge by the number of 
copies remaining, especially of the Melpomene (pl. 23b), 
expresses the same aims, balance in pose and drapery 
without the symmetry of earlier times ; the best pre- 
served head is one recently identified at Dresden (pl. 24a). 
A similar facial type is met with in some copies of the 
“ Medici” Aphrodite, and in the Crouching Aphrodite, 
by a Bithynian sculptor, Doedalsas (pl. 25a); the goddess 
is pouring water over herself in what is no doubt a ritual 
bath, in some copies attended by an Eros standing 
against her knee. Here we see a reaction against the 
over-violent style of the Alexandrian goddess head 
(pl. 17b), and a similar moderating tendency is displayed 
B 17 


LeAVTS ETRe GORGE CES a SiCaUieLere Li aRinkt 


in male portraits such as the head (pl. 24b) which belongs 
to the statue of a prince. The realism of Doedalsas’ 
Aphrodite, a woman in an attitude which emphasises her 
heavy build, is parallel in a remarkable statue of Heracles 
sitting on a rock with his club under his shoulder; the 
back is beautiful, the front, however, is almost repulsive 
from its extreme carefulness (pls. 25b, 26). A bronze 
head from Cyrene in the British Museum is a realistic 
portrait of an African, of Berber stock (pl. 27), and a 
more striking but less artistic example of realism is the 
bronze statue of a boxer in Rome (pl. 28). The limbs 
are grotesquely heavy and coarse, the bestial face appears 
almost a caricature, with its blood-soaked moustache, 
toothless mouth and battered ears ; the ideal is repeated 
in literature by Theocritus, in a description of a boxing 
match. 

A group of the skinning of Marsyas can be placed 
shortly before the Dying Gaul, and so belongs to the 
neighbourhood of 250; the satyr is tied to a tree, his 
animal face distorted with fright (pl. 29), while Apollo’s 
Scythian slave sharpens the knife, with a satisfied eye on 
his victim (pl. 30a). The grouping is loose, yet marks an 
advance on previous conceptions : the Niobids formed a 
series of separate statues or pairs of statues in no way 
dependent on the rest, whereas the slave is intimately 
connected with the Marsyas. In the same way another 
artist of the time linked together a dancing satyr and a 

18 


etieeeebeleRi oe SH UeNeDERS EDS Y EVAU Rss 


nymph putting on her sandals to join him ; a restora- 
tion (pl. 30b) has been carried out with the help of 
numerous copies, of which good heads are illustrated 
(pl. 31). The conjunction of the two statues rests on 
the authority of a coin of Cyzicus, a place in Doedalsas’ 
country ; it may be that the district is significant, for the 
nymph is certainly comparable to the Aphrodite at the 
Bath, though the resemblance is not sufficient to justify 
an unqualified attribution to the same hand. 


19 


CHAPTER 3 


THE ASCENDENCY OF PER GAG 
240-140 B.C. 


IR the troubled years during which Alexander’s generals 
were struggling over his empire, Pergamon, a town north 
of Smyrna, was selected by King Lysimachus for the 
store-house of his treasury. The officer in charge 
rebelled in 283 and established a small state which rose 
to importance when its third king, Attalus, succeeded 
in checking a tremendous horde of Gauls who had in- 
vaded Asia Minor and ravaged it for many years. They 
finally settled in a district named after them, Galatia, 
where a language intelligible to visitors from France 
was still spoken in the fourth century a.p. 

The greatness of Attalus’ achievement (and of Lysi- 
machus’ wealth) was worthily perpetuated in two 
dedications, a set of small statues, dating from 201, and 
an earlier set of colossal statues which may commemo- 
rate the decisive victory in 241, or the end of the war in 
228. The Dying Gaul of the Capitol (pl. 32) is a 
marble copy (perhaps contemporary) from a member of 
this larger bronze group, which included too the marvel- 
lous Dying Asiatic (pl. 33). Wild hair “ like satyrs ” 
(cf. a contemporary type, pl. 34a) was as much a feature 

20 


ietieterors CLE N DoE NiCi\Ys O° (PER GAM O'N 


of the Gauls as their twisted collars and their trousers, 
but since the Asiatic’s hair is equally disordered where 
his cap reveals it, we are justified in taking this feature as 
a mark of the age rather than the race. The treatment 
of the nude is powerful but restrained and extremely 
careful, free from the clumsiness of the Boxer in Rome 
(pl. 28) ; an admirable statue in the same style is the 
Sleeping Faun (pl. 34b), who should be restored in a less 
upright posture ; the group of Menelaos carrying the 
dead Patroclus (familiar from a copy in the Loggia dei 
Lanzi at Florence) can scarcely belong to any other 
period ; a Sleeping Fury (pl. 35), itself of poor work- 
manship, suggests another amazing original, while 
among portraits there is a life-like and intelligent head 
of Queen Arsinoe of Egypt, wife of Ptolemy IV, 
221-203 (pl. 36), and a startling head of one Euthy- 
demus (pl. 37a), who dislodged the rightful king of 
Bactria (North Afghanistan) about 230, and initiated 
the conquest of Kabul and the N.W. Frontier of India 
carried out by his son, the first Greek to hold this 
country since Alexander. 

Copies of the smaller statues of 201 (chiefly to be 
found in Venice and Naples) are in Pergamene marble, 
whereas the bronze originals were at Athens ; the dis- 
crepancy is best explained by assuming the existence of 
a duplicate set at Pergamon, from which our copies 
were taken, for their singular dimensions, two-thirds 

21 


LATER GREEK SCULPTURE 


life-size, correspond to the pedestals discovered at 
Athens, the subjects are known to be identical (fights 
with Gauls, Amazons, Persians, Giants), and the style 
displays a transition from the larger group of Attalus to 
the Altar of his successor. A typical figure (pl. 37) is 
usually described as a wounded Gaul, but the dress is 
that worn by Greek soldiers on the Alexander Sar- 
cophagus, and he has no Gallic characteristics ; the right 
arm has been restored holding up a sword in a futile way, 
and it is more likely that he is defending himself with a 
shield. The modelling of this group has a baroque 
character absent in the larger statues, the attitudes are 
theatrical, the surface markings exaggerated, and some 
of the faces so distorted as to lose all beauty. But there 
is much to be said for the fragment of a fighting Gaul 
(pl. 38), as well as for an up-to-date Marsyas (pl. 39), 
howling, the face working frantically, and the hairy 
body damp with sweat. ‘To the same period belongs the 
bronze group of an old and a young centaur, each 
ridden by an Eros, one of whom has tied the old fellow’s 
hands together ; the familiar copies in the Capitoline 
Museum were executed by two Hadrianic sculptors 
from Asia Minor, in a shiny, dark-grey marble, to 
reproduce the effect of bronze. The head and pose 
of the famous Dancing Faun from Pompeii refer it 
to this period but the body may have been smoothed 
down a trifle by the copyist; it is deservedly popular 
2.2 


ietdebeea oC. N DIE IN C Y SOF P E.R GA M:O Ni 


for its perfect physique, as an embodiment of 
health. 

Later Greek artists show a predilection for Herm- 
aphrodites ; the attempt to combine male and female 
excellencies usually resulted in a predominance of the 
female element in the details, though the body is slimmer 
than a Greek woman’s and the sexual organs are in- 
variably male. The finest of the existing herm- 
aphrodites (pl. 40) was much copied, and therefore very 
popular in antiquity ; the date is about 200 so far as can 
be ascertained. The still commoner Sleeping Eros 
(pl. 41b) has been attributed to the same artist, from 
similarity in points of detail as well as its general arrange- 
ment. 

No large architectural sculptures can be attributed to 
the early part of the third century, but the frieze of a 
great temple at Magnesia, begun in 221, appears to have 
been designed soon afterwards, and two or three similar 
friezes on a smaller scale are preserved in the adjacent 
islands of Cos and Teos. The style can, however, be 
better appreciated in a remarkable gravestone from 
Chios, of a type represented only by one other example 
from the same island ; the best preserved of the three 
carved sides (pl. 42) has at the top an ivy-pattern, then 
a line of sirens (death spirits), a fight between men and 
centaurs, and a pair of chariots racing past the turning- 
post ; on another side we see the heroised Metrodorus 


ad 


LATER GREEK SCULPTURE 


standing under a tree beside his tomb with a boy 
worshipping him. An interesting relief from Corinth 
(pl. 41a) shows a family sacrifice before the statues of 
two deities, which are protected by a curtain ; in the 
distance stands a pillar with two little archaic images 
upon it. Some of the figures resemble terracottas 
whereby the date is approximately determined and it is 
plain that the relief is a precursor of the sculptured 
landscapes. 

At the commencement of the second century Per- 
gamon was the scene of a previously unparalleled 
outbreak of dramatic town-planning with baroque 
sculpture worked into the composition ; this should be 
seen through an architect’s eyes, and I quote Sir Reginald 
Blomfield, who notes how “in Sicily the temples were 
ranged along the crests of hills without any apparent 
attempt being made to connect these in the consecutive 
design : how too, in the Acropolis at Athens, the placing 
of the temples was governed by political rather than 
architectural considerations. But the architects of Per- 
gamon felt that this was not enough. They felt the 
necessity of a comprehensive scheme dealing with the 
work and its building as a whole, so they used to the full 
the physical features of the site by grouping their build- 
ings along the crest of the hill. They covered the 
hollow of the hillside below with the seats of the theatre ; 
and then, as a firm foundation for the design, they cut 


24 


THE ASCENDENCY OF PERGAMON 


the terrace, forming as it were the base of a hollow fan 
radiating upwards to the sky. It was a great effort in 
civic architecture, memorable as it was something new 
in the world and because it was to lead on to the planning 
of Cesarian Rome. Of the buildings, or groups of 
buildings, the one which seems to me the most remark- 
able is that occupying the southern horn of the crescent, 
the great Altar of Zeus Soter, and I select this because 
it was to some extent peculiar even in antiquity ; the 
Pergamon Altar was peculiar not only for its size but its 
sculpture. Even the obscure Ampelius noted this Altar 
and its tremendous sculpture; the early Christians 
regarded it as the special throne of the Devil—these 
writhing figures of gods and giants in mortal conflict 
seemed to them the embodiment of all that was evil 
(pl. 43 )—I doubt if any more gigantic enterprise in sculp- 
ture has ever been undertaken, for this frieze was not 
broken by details, such as triglyphs, or returns round 
architectural members, but was one continuous band run- 
ning sheer round the building from the steps on one side 
till it ran out on the steps on the other side. ‘There is 
something Titanic in the audacity that could venture on 
such a work. The Pan-Athenaic procession that ran round 
the cella of the Parthenon was a far more beautiful 
work, in its exquisite refinement and in its profound 
instinct for the relation of sculpture to architecture. 
But that frieze was on an altogether smaller scale, and 


os 


LATER GREEK SCULPTURE 


although it is evident that the sculptors of Pergamon 
were men of coarser fibre than the sculptors of the 
Parthenon, yet the use they made of their astonishing 
technique very nearly replaced the genuine inspiration 
of the earlier school. I doubt if in the whole range of 
sculpture it is possible to find such a prodigious tour-de- 
force, for Hellenistic art had passed the stage of ideal- 
ism, it sought for realism passionately, for strong, even 
violent emotion. ‘The giants were shown as half-human, 
half-animal, the upper part of superb muscular develop- 
ment, with splendid wings that recall the Victory of 
Samothrace. The legs below the knee become serpents, 
which take part in the conflict on their own account. The 
taste of the latter is questionable, but of the decorative 
value of the wings there can be no doubt. The wings 
form a background to those magnificent torsos, and the 
serpents fill up the intervening spaces, and give the neces- 
sary recurring motive which binds the whole frieze 
together. As in the case of the Acropolis at Athens, 
political motive prompted the architectural treatment : 
where, however, the advance is made, is in the consecu- 
tive placing of these monuments: the very best is made 
of them, not only individually as in the temples of the 
Acropolis, but as units in one great composition. ‘The 
architecture is reduced to its simplest expression and it 
was left to the sculptors to tell the story in a way which. 
no one could mistake. It is to be recollected that, in 
26 


THE ASCEN DENCY OF PERGAMON 


architectural sculpture on a great scale, it is of the great- 
est importance to keep the masses broad and simple ; 
and design which results in uniform shadows scattered 
over the surface will defeat its purpose as architectural 
design and will contribute little more to the total effect 
than a vermiculated wall. The peculiar quality of the 
Gigantomachy is that, by means of the contrast of the 
torsos with the wings and flying draperies in the lower 
planes, an admirably varied surface was obtained with- 
out losing the rhythm of the composition. 

The speed with which Pergamene sculpture advanced 
was phenomenal. It was about 188, only forty or fifty 
years after the Dying Gaul, that the monstrous frieze 
of the battle of the Gods and Giants was created, a 
fantastic and unconvincing series of the ferocious 
struggles of impossible mythological creatures. The 
treatment of details was as extravagant as the whole, 
yet the novelty of the style is an illusion, for the baroque 
mannerisms in technique had been gradually developed 
from the Dying Gaul through the smaller Attalus group, 
and similarly the dignified poses of the first set of 
statues gave place to more striking and melodramatic 
attitudes in the second and to mere snapshots in the 
frieze ; some of the gods’ figures, moreover, follow types 
created by Old Masters, to which the Greeks always 
remained faithful. ‘The execution of the frieze is as a 
rule more effective than conscientious, in accordance 


27 


LAME RSG REE KS Chun PrIeuaR E 


with its dimensions, and other sculptures of the time are 
better ; among the finest work from Pergamon are the 
female head (pl. 44), the dancing girl (pl. 45), in whom 
a touch of the archaic manner is visible, and a “ pathetic” 
version of an old portrait of Alexander (pl. 46a) ; the 
head of an old centaur (pl. 46b) is very typical, though a 
later copy, so too is the torso of a satyr (pl. 47). It 
seems strange that one period should excel in both 
prettiness and virility, and it is worth noting that the 
phenomenon is repeated in the baroque period of 
Japanese sculpture (XIII-XIV centuries) and in the 
European baroque. ‘The portrait of Homer took its 
final shape at this time and is perhaps derived from a 
statue of him at Pergamon; the heads called Seneca 
(pl. 48a) are from another imaginary portrait of ap- 
proximately the same date, which an Augustan artist 
has rendered even more dramatic in the familiar bronze 
copy at Naples (pl. 48b). 

The smaller frieze of the Altar deals with the ad- 
ventures of Telephus, the legendary founder of Per- 
gamon, who was being suckled by a deer when Heracles 
came upon him (pl. 49, right) ; the next scenes illustrate 
women decorating a sanctuary of Athena and heroes 
hurrying ashore. It seems that a reaction against the 
clumsy pomposity of the Gigantomachy had already set 
in, some twenty years after, for details are toned down 
and the action nowhere becomes as hectic as the previous 

28 


fitters c EN DEN CY OF PER GAM ON 


generation would have liked. The great interest of 
the frieze lies in its relation to the landscape com- 
positions evolved in the following century, for their 
essential features first appear in it, though the germ of 
the idea may be traced back to 200, in the sacrifice 
relief (pl. 41a). The frieze is valuable, too, as it contains 
examples of a new drapery fashion by which the outer 
garment appears transparent and reveals the folds 
beneath. This was especially popular in Asia Minor, 
in terracottas as well as marbles, but a statue of the kind 
in Arcadia (pl. 48c) and others in the Islands proves that 
it was not confined to any one district. ‘The acme of 
transparency was reached in a statue from Magnesia 
on the Maeander (pl. 50), probably of the middle of the 
century, and it was already declining in a statue dated 
138. This was the last of the Greek experiments in 
this line, and, as there was no fresh advance to be made, 
drapery had little interest for subsequent artists, and 
usually was frankly based on old models. 

Among the sculpture contemporary with the Telephus 
frieze should be mentioned a bronze statue of a ruler 
who resembles the coins of Demetrius I, King of Syria 
from 162 to 150 (pl. 51a, b), the body of which is 
conventionally sturdy and devoid of merit; and a 
figure from the Temple of Hera built at Pergamon, by 
Attalus II (159-138), which probably represents Zeus 
rather than the king (pl. 52). The Athena from 


29 


LATER (GREE Ke S'C UjLP TU ROE 


Tralles (pl. 53) is colder than the famous head from 
Pergamon (pl. 44) although otherwise closely akin. 
It is an Asiatic example of a style influenced by Phidias, 
which has been wrongly conjectured to have been 
restricted to Greece, chiefly from the fame of Damophon 
of Messene. 

This artist was the author of a colossal group at 
Lycosura, a sanctuary of Demeter in the Arcadian 
hills, the remains of which, in the tiny local museum, 
give perhaps the truest impression of how cult statues 
looked in the dim little room inside a Greek temple. 
The illustrations include the torso of Demeter (pl. 542), 
the heads of two subsidiary figures of Artemis (pl. 54b) 
and asatyr Anytos (pl. 54c), and a portion of Demeter’s 
drapery (pl. 55) carved to represent embroidery, with 
Nereids on sea-monsters, winged Victories, and a row of 
animal-headed creatures who occur in local terracottas 
and represent a very primitive stratum of deities ; 
Arcadia was noted in antiquity for its religious survivals, 
among them the worship of a black, horse-headed 
Demeter, and the persistence of human sacrifice until 
the second century a.p. Damophon treats his heads in 
a cursory manner, unlike the Pergamenes, and he was 
greatly influenced by the fifth century, especially in the 
Artemis, which is derived from Phidian heads. A 
return to the classic style of the Old Masters is customary 
from now on: thus an attractive head of Persephone 


30 


ieotieeros CEN DEN CY OF PER GAM ON 


(pl. 56a) in the style of Damophon has passed for a fourth 
century original, and there are instances of statues 
reproducing parts of one or more of the acknowledged 
masterpieces, this especially in Greece though examples 
from the Islands and Asia Minor are also known. ‘There 
was in fact a poverty of invention after the rapid progress 
made with the encouragement of Attalus and Eumenes 
and the only lines in which satisfactory ability had not 
yet been attained were realistic portraiture, composition 
of figures and groups, and landscape. ‘The programme 
for the next period was thus formulated. 


31 


CHAPTER 4 


THE LATE HELLENISTIC PERIOD 
1.40 = 209 ABC, 


Au the Hellenistic kingdoms entered on a decline after 
140, dominated by the new power of Rome which had 
long since conquered Macedonia, which annexed Greece 
in 146 and was soon to take over Asia Minor, for the 
last king of Pergamon died in 133, leaving his posses- 
sions by will to the Roman Republic. The removal of 
royal patronage meant that Pergamon lost its importance 
as an art-centre ; another artists’ colony was, however, 
springing up in the A‘gean. The barren little island 
Delos had once been distinguished merely by a wealthy 
Temple of Apollo which lent money at the unusually 
low rate of 10 per cent., but in 166 the Romans had 
declared the place a free port (designing it as a rival to 
Rhodes), after which it rapidly became the headquarters 
of AXgean trade and the residence of Italian, Syrian and 
other foreign merchants. This prosperity lasted till 
the Mithradatic war in which Delos naturally sided with 
the Romans, for which it was thoroughly sacked in 88 ; 
Rhodes too adopted a pro-Roman attitude, standing a 
siege, whereupon the Romans reversed their policy 
and restored Rhodes its commerce. Delos was feebly 


32 


Meee Anly be Her sil beNel oolel; Gee Pee Ral O.D 


trying to recover from this double disaster when a 
pirates’ raid in 69 devastated the city ; business was 
transferred to Rhodes or to Italian ports, and only an 
insignificant village was left on the site. The acres of 
ruins, now largely cleared by the French School at 
Athens, form a Hellenistic Pompeii. ‘There are fewer 
paintings than sculptures among the finds (most of 
which are housed in a museum on the island), the bulk 
of the material consists of statues of merchants or officials, 
both Greek and Italian, in a style scarcely to be dis- 
tinguished from that of Roman Republican portraits 
and of identical types ; the standing figures sometimes 
wear armour, though more appear in the nude, and 
armed men on horseback also occur; the women, too, 
are shown in conventional attitudes like those used at 
Rome. A survivor of many Delian statues in honour 
of Romans, a nude representation of the official Gaius 
Ofellius, is signed by two Athenians known to have 
worked at Rome soon after 150. No doubt the support 
of such Romans familiarised with sculpture during their 
residence in the AXgean was largely instrumental in 
bringing the flood of Greek artists to Italy : since there 
is no evidence that any Republican portraits are older 
than 88, the year of the sack of Delos, they must be 
regarded as late work of the same school and no national 
Roman influence on portraiture can be admitted. 
Delian portrait heads are not the products of a stagnant 


S mH 


LATE RG REE RUS Cively rata Rae 


period, but mark a distinct advance on the Pergamene 
ideals: they substitute line-drawing for chiaroscuro, 
a system of black cuts on a white face for the high- 
lights and shadows of lumpy modelling such as we see 
in the statue of Demetrius I (pl. 51). The transition 
can be watched in a bronze head with enamel eyes 
(pl. 56b), the features of which appear to have Italian 
characteristics, and in a statue (pls. 57, 58a) executed in 
a more realistic manner that dispenses with the set 
emotional expression. Unfortunately, the other Delian 
portraits are unpublished or only available in poor 
reproductions, and as the rights of publication are 
reserved to the excavators they cannot be illustrated 
here ; there are, of course, similar sculptures from other 
sites, but they can seldom be dated through external 
evidence like the Delian material, almost all of which 
must be previous to 69. A gravestone from Smyrna 
(pl. 58b) in which Pergamene traditions are prominent, 
represents the dead man heroised, in a pose used at 
Delos, while the slight indications of landscape and the 
bold attitude of the squire holding the horse’s bridle, 
suggest a date later than the Telephus frieze. A youth- 
ful head from Athens (pl. 59a), in which only faint 
traces of the Gigantomachy style persist, may be given 
as representative of idealistic work contemporary with 
the bronze head ; and the latest Delian style, the black- 
and-white, is admirably exemplified in another portrait 


34 


THE LATE HELLENISTIC PERIOD 


from Athens (pl. 59b), in a family group from the neigh- 
bourhood of Athens (pl. 60), and in a statue of an un- 
known author (pl. 61), whose drapery closely resembles 
an Eleusis relief dated about 100-go B.c. (pl. 79). The 
black-and-white style presumably developed some time 
before 100, since it is so prominent at Delos, although 
its progress continued till the middle of the first 
century: it is employed for Pompey, 106-48 (pl. 62a), 
and with slight modifications for King Cotys of Thrace, 
who died shortly before 17 B.c. (pl. 62b). 

Sculptures other than portraits are rare at Delos, a 
few imitations of older types will be considered in the 
next chapter, and the rest have more historical than 
esthetic value ; yet good work was still being turned 
out by these artists, for inscriptions of c. 100 prove that 
among them was Agasias, whose signature is cut on 
the “ Borghese Warrior ”’ of the Louvre, a dry, anato- 
mical study of considerable merit based to some extent 
upon a fourth century original. . Another instance of a 
variant from a fourth century statue is the Venus of 
Milo. It might be classed among retrograde works 
since the cold serenity of the face, akin to a Delos 
statue’s (pl. 73), is derived from the fifth century (the age 
of Praxiteles, in which the statue’s prototype was formed, 
would have preferred a more human expression) : 
but the complicated pose is a decidedly late feature as 
is well emphasised in an analysis by Dr. Gerhard 


452) 


LATER GREEK SiC ust Pl Usk E 


Krahmer. “The right arm pressed close to the breast acts 
as a frame to the trunk which is energetically raised to 
the left and turned in the same direction, to be sur- 
mounted by a strongly-raised head also turned to the left, 
but the direction of the body changes below the right 
arm, the movement runs the other way, pushing the 
region at the top of the supporting leg wantonly out to 
the right ; and the left thigh is bent forward in the same 
direction, thus intensifying the effect. Originally, 
when the statue was complete, the contrast to the move- 
ment of the trunk was still more striking as the right 
arm continued, in a way, the theme of the trunk by 
pointing down to the left. But even now, if we look at 
the unrestored original, we see at once the contrast 
between the trunk turned to the left and the middle 
part of the body bending out down to the right, for the 
direction of the trunk is repeated by the left shin as well 
as by the contiguous supporting leg and an end of the 
mantle which hangs down on the left. The figure there- 
fore passes through three alternate schemes of move- 
ment. Still another contrast is afforded by the soaring 
up of the top of the figure and the droop of the great 
folds which stretch from free leg to supporting leg. 
The whole achieves a rhythm that gives the statue a 
distinct character from all works of the fourth and third 
centuries. Let us compare for a moment the Cnidian 
Aphrodite of Praxiteles: the contours of the body run 
36 


pebiobeninwl bare by LiL BN LSehal COPE I O.D 


quietly downwards while the parallel forearms follow 
the turn of the head. The composition hinges on the 
direction of the glance, which is carried far away in 
aimless meditation ; to this the entire figure is sub- 
ordinated. But it is precisely this hingeing of the 
composition on one point that is absent in the Venus of 
Milo. On the contrary it looks as if the artist had, 
without hesitation, avoided the scheme of composition 
exemplified in the Cnidian, which may be called 
central, whilst by various conflicting movements he 
gave his statue an animation that recalls the rising of a 
flame, and his composition may be named centrifugal.” 

The Venus shares this complex rhythm of pose with a 
group of other statues from the A®gean islands and 
Asiatic coast, one of them inscribed with a date that 
corresponds to 128-127 B.c. ‘There is, accordingly, no 
stylistic obstacle to accepting an inscribed base found 
with the Venus as belonging to it, since 100 B.c. is the 
date roughly indicated by the lettering ; the beginning 
of the signature is missing but the sculptor’s name may 
be restored, as either Alexander or Hagesander and his 
place of origin is stated as Antioch on the Maeander, 
a small town in Asia Minor. On the other hand a 
drawing taken soon after the discovery attaches the base 
to a Herm. It seems a queer-shaped pedestal for a 
pillar to stand upon, and I have no faith in the truth- 
fulness of the sketch ; the absence of any other record 


3 


DATE RG REE hes CUS ae ha werer 


of the Herm is not a valid argument against its existence, 
for in a discovery made so long ago carefulness is not to 
be expected. The base, in fact, is lost too (this is the 
way of inscriptions), but a cast of it had been taken, on 
which the Venus fits no more loosely than is usual 
with antique statues, since a custom of fixing the feet in 
with lead made accurate joins unnecessary. 

An unusual group from Delos (pl. 63) was dedicated 
by a merchant of Beirut (Beyrouth), a still prosperous 
Syrian port, where tastes remain unaltered throughout 
the ages. The subject is erotic, in accordance with 
the character which an early Syrian Christian gives 
the place; Pan has been seized, literally and meta- 
phorically, by Eros (typifying the emotion inspired by 
his mother), but since Aphrodite threatens him with 
her slipper, he is obliged to try more persuasion than is 
his habit. It should be noted that his head is quite 
different from early types (e.g., pl. 20a), being apparently 
adapted from a Pergamene original; Aphrodite’s face 
is very rounded and smooth, somewhat in the manner of 
a portrait from Athens (pl. 64), a turbaned youth who 
may be one of the Oriental princes that attended the 
philosophers’ schools. But thin eyes and a polished 
surface were still fashionable under the first emperors 
(they occur in an Agrippina head at Thera), so 
there is no particular reason to claim as early a date 
for the turbaned youth as for the erotic group, 


38 


fee least beh ELL EN! Soil) G PoE RIO). D 


which can be placed about 100 from the character 
of the lettering. 

It may be, however, that a pair of Silenus statues at 
Delos are good evidence that the hairy figures sup- 
porting the stage of the Theatre at Athens (pl. 65a) 
antedate Nero’s reconstruction, to which the stage 
itself is due ; a theory that they once formed part of 
the Odeum, rebuilt in 86 by a philhellene King of 
Cappadocia, has become more plausible since the 
discovery on the site of fragments in similar technique, 
and although their suggested provenance must remain 
hypothetical, the dating at least is satisfactory. 

The colossal bust (pl. 65b) is one of a pair of supporting 
figures that stood up against an ornamental gateway at 
Eleusis, the gift of a Roman, Appius Claudius Pulcher, 
who died in 48 B.c.; the companion figure at Cam- 
bridge is too worn to be of interest. The architectural 
carvings are excellent, but the face and drapery and the 
little mask on the breast are purely decorative in char- 
acter ; the hair is of some importance as an older example 
of the technique used under Augustus. The provenance, 
as well as comparison with other Greek objects of the 
first century, testify to the local workmanship of the 
bust, which, with its contemporary, the portrait of 
Pompey, has considerable historical value, marking a 
step in the development of the so-called Roman 
style. Another monument illustrating the transfer of 


39 


LATER GREE KS C Url PiU RE 


Greek art to Italy dates between 35 and 32, when 
Augustus was still collaborating with Antony; Nero’s 
grandfather, Cneius Domitius Ahenobarbus, is known to 
have set up a group of sea-deities by Scopas, and its 
pedestal seems to have contained some reliefs of sea- 
monsters, now at Munich, and a relief of a Roman 
sacrifice in the Louvre. The episode of a Triton 
carrying off a Nereid in each of his tails (pl. 66), is of 
rare exuberance that might tempt us to see in it the in- 
fluence of Etruscan taste if it did not also remind us of 
the Laocoon, an original of the same period; the 
sculptor’s nationality must remain a mystery, for the 
other slabs are Italian in design, yet contain figures of 
common Greek types. 

Two of the three Rhodians who collaborated in the 
Laocoon are known from inscriptions to have held the 
important civic office of Priest of Athena in their city 
in 22 and 21; they were then of advanced age, the 
group may therefore be placed some ten or fifteen 
years before. Their knowledge of anatomy was not 
adequate (the lines of the ribs are impossible, and one 
of Laocoon’s sons has a three-jointed thumb), and their 
snakes are absurd, but their technique marks the highest 
point the Greeks had yet attained and it had full scope in 
such a subject (pl. 67). 

Studies of age and decrepitude were admirably 
adapted to these sculptors, and I believe that most of the 


40 


iene lea BME IL I LoESN ESiiel Cy PoE eR tO D 


extant types originated at the end of the first century 
B.c.; the Old Peasant (pl. 68b) is plainly of the school 
that produced the Laocoon; and the repulsive Old 
Fishermen (both draped and nude examples), cannot 
be earlier and are sufficiently like the Laocoon to be 
classed with it. A statue of an old woman carrying a 
fowl to market (pl. 68c) has most of the face restored, 
but another copy (pl. 68a) gives a correct impression of 
the original head. The well-known second century 
statue of a drunken old woman nursing a wine-pot 
(copies in the Capitoline Museum and at Munich), 
is frankly comic, whereas these later sculptures are 
serious essays in an esthetic problem treated in the 
spirit of a modern artist. Like the pastoral scenes which 
were evolved at the same time, they belong to the art 
of the Roman Empire rather than to the Hellenistic 
period. 


OH APO BE Rens 


ADAPTATIONS: OF OLDEROWORKR 3 
OTHER DECORATIVE SCUDPit 


where conservatism of a nation is usually strongest in 
religious matters, and the most ancient images of the 
gods meet with the greatest veneration. ‘This instinct 
induced the Greeks not only to preserve crude old 
statues which had grown powerful through centuries of 
worship, but also to portray deities as their ancestors had 
done rather than in a new-fangled style unsanctified by 
traditions. ‘The movement started, so far as we can see, 
with those large painted vases that were given away as 
prizes for the Panathenaic Games. Athletics had a 
religious aspect (like the drama) and all the great 
festivals were held in honour of some deity ; this, in 
the case of Athens, was naturally Athena, and a figure of 
her occupies one side of the vase, the other bearing a 
scene of running, wrestling, or whatever the event might 
be for which the prize was awarded. All through the 
fifth and fourth centuries, the Athenas imitate the stiff- 
ness and incapability of primitive art and the painting 
is always in the awkward process, black on a red ground, 
that went out of date in the sixth century. Early in the 
fourth century, mannerisms appear—the swallow-tail 


42 


ADAPTATIONS OF OLDER WORK 


end to drapery is the most typical—and this marks 
the beginning of an archaistic school whose object was 
to convert the formal incompetence of archaic sculpture 
into pleasantly quaint decoration, especially in the shape 
of reliefs with figures almost exactly alike placed flatly 
in rows. ‘The idea was a great success, and held its 
ground for the next five hundred years without any 
fresh display of originality. In the frieze illustrated 
(pl. 69), a typically lifeless row of Seasons (one of the 
four is missing in this copy) follows the bearded Diony- 
sus, who holds his pine-branch ; a German scholar, 
Edouard Schmidt, whose knowledge of the subject 
entitles him to speak with authority, dates the original 
relief about 300, remarking that its figures are con- 
structed according to the scheme of proportions invented 
by Lysippus. 

In another class of retrograde statues, fifth century 
formalism was applied to the freer conceptions of later 
days, a convention which in capable hands could yield 
results of surprising beauty. An early example, ap- 
parently of the time of Alexander (compare the drapery 
of the sepulchral statue, pl. ga), is a supporting figure 
of which copies have been found at Tralles in Asia 
Minor (pl. 70), and in Algeria, among a collection 
formed in the Augustan age by the native king, Juba ; 
the original presumably stood at Athens, since two 
heads have been discovered there. The next batch of 


43 


LoAST ERG RoE EB, Bats  CoUn is bb Uke 


statuettes and reliefs belongs to Pergamon, where some 
free copies of famous fifth-century sculptures were to 
be seen and artists obviously studied the work of their 
predecessors, thus of a row of girls dancing round the 
circular pedestal of some destroyed monument, one 
(pl. 45) is nearly in the style of the Gigantomachy, 
while another is extremely archaistic; a statuette 
(pl. 71) is inspired by primitive art though it is too 
sophisticated to be an exact reproduction. 

A generation later, the same tendency cropped up 
in literature, authors of the late second and first centuries 
reverting to the Attic dialect of two hundred years 
before. Sculptors like Damophon came to appreciate 
the simple lines of the Phidian school after the carnal 
extravagances of Pergamene royal monuments, with the 
result that henceforth it is more often the surface treat- 
ment than the form which identifies a retrograde sculp- 
ture, and the border-line between such and ordinary 
contemporary work is sometimes nebulous. ‘This arch- 
aistic neatness renders the statue of a lady (pls. 72, 73), 
found in a large house at Delos, one of the most beautiful 
of Hellenistic sculptures. The type originated in the 
fourth century and there are many copies extant, which 
vary in date by four centuries, but none equal this one 
in excellence ; it belongs to the later second century. 
The boy from Tralles (pls. 74, 75), whose bruised ears 


are a sign of the boxer, is a masterpiece of the same 
44 


Aer AS Pa teAy ll) OONESBOshs OLE DEEeR ss WlO RvK 


kind, the head being imitated from the fifth century 
although the crossed-legged pose began with Praxiteles 
and the cloak could not be older than the Pergamene 
kingdom. The Aphrodite found at Cyrene a few years 
ago (pl. 76), is almost a copy of an early fourth century 
type of the foam goddess rising from the sea and wring- 
ing out her hair, a lock of which fell against her arm and 
so accounts for a lump on the marble (the presence of a 
dolphin was a long-established means of indicating that 
the scene was laid in the sea, but the symbol’s tail also 
serves as a stand for the crumpled drapery that sets off 
the smoothness of the figure). The smoothness is perhaps 
overdone and the structure of the body has not received 
enough attention: the fatty surface of the legs and the 
singular length of the abdomen are not the only features 
at which offence has been taken. Another statue from 
Cyrene, in the British Museum, appears to be by the 
same hand, an Apollo playing the lyre, a free copy 
from a well-known original of Praxitelean age: it 
enables us to visualise the missing head of the Aphrodite, 
with crinkly hair and a face polished smooth though 
with sharp, clear-cut lines to the features, rather as in a 
magnificent head at Boston (pl. 77), which is ascribed to 
the fourth century though of less massive build than was 
then customary. ‘The interest in female bodies, that 
made the statue an improvement on its original, is a 


feature of the age, exemplified by the Venus of Milo 
45 


LATE RYG REE KeS Curl Pasur RE 


and by an admirable fragment (pl. 78) that represented 
either a nymph or else the deserted Ariadne being found 
asleep by Dionysus and his satyrs, a scene illustrated on 
a late Etruscan pediment and in a painting at Pompeii. 

Among the countless ancient statues using fourth 
century types for sepulchral monuments, whose imitative 
character usually rules out the possibility of precise 
dating, a few are executed in a style definitely attribut- 
able to the end of the second or the first century. The 
best of them, the Mourning Woman in the British 
Museum, was once ascribed to the period it imitates, but 
now others have been studied it is clear that the face is 
late, being of a slight build quite different from those 
of Attic grave-stele, but comparable to the Delos lady’s 
(pl. 73). 

There are reminiscences of the Parthenon frieze in 
the heads and poses of an enormous relief showing 
deities connected with the Eleusis Mysteries (pl. 79) ; 
the date is known to be about 100-90. The drapery is 
remarkable from its use of deeply-cut shadow lines 
instead of projecting folds, a pictorial rather than 
sculptural convention which was adopted at Rome ; 
a more pronounced example belonging to the Augustan 
period is the curious scene of Drama presenting a 
tragic actor’s mask to Euripides, in the presence of an 
archaistic statue of Dionysus, the patron of the stage 


(pl. 80). 
46 


DoD PAtt Awl le ONS) Ors tORLl Deb Ra WoO ROK 


From the repulsive ugliness of early first century 
portraits, came a reaction to prettiness which was always 
in some way archaistic. A vigorous school, of which 
Pasiteles seems to have been the leader towards 50 B.c., 
executed copies and adaptations of the archaic in a dainty, 
refined manner, well illustrated by the Capitol bronze 
of the boy pulling a thorn out of his foot, in which a 
statue of the Lysippic period has been deprived of its 
proper head (curly-haired and realistic in the British 
Museum copy) and given a prettier, the source of which 
was an archaic standing figure known from marble 
replicas ; the combiner was not troubled by the laws of 
gravity, by which the long hair that sat close to the head 
on an upright figure should fall over the face when 
looking downwards. Many bronzes in Naples from the 
villa outside Herculaneum are of the same class, includ- 
ing the Resting Hermes (probably of Lysippic origin), 
the dancing girls, and the bearded head of Dionysus, 
popularly known as Plato. A marble head (pl. 81a) is 
taken from an Attic votive figure of ¢c. 500, with artificial 
smile and elaborately curled hair ; art was then as full 
of mannerisms as at any time in history. 

This Pasitelean school grew into the Augustan, 
changing the realistic portraiture of the Greco-Repub- 
lican style into an idealistic manner fit for the semi- 
divine imperial family, whilst the Etrusco-Republican 
high reliefs with a single row of figures gave way to 


47 


LATE RG ROE RSS Cre LP Ue RoE 


pictorial low reliefs with carefully graded perspective . 
(pl. 82), a method adumbrated in the Eleusis relief of 
c. 100-90. For draped figures of women the Augustan 
sculptors adopted the late Hellenistic style of the Delos 
lady (pl. 72) and the Mourner in the British Museum, 
using the identical types in many cases, and their heads 
when not distinctly portraits are evidently derived from 
the same source ; in personifications, such as the fine 
Germania Captiva (“ Thusnelda”’) in the Loggia det 
Lanzi, and the pastoral scene from the Ara Pacis, they 
struck out a new line and set the tone of this most im- 
portant branch of Roman art. It is noticeable that as 
time goes on the style gets more sensual and the surface 
modelling softer, as with the Pre-Raphaelite painters ; 
nothing could be softer than the bronze “ Narcissus ”’ 
of Pompeii, or some sculptures from Nero’s villa at 
Subiaco, the kneeling boy (pl. 14) and the sleeping 
Ariadne (pl. 81b), a variation of a well-known theme. 

The Pasiteleans had humbler contemporaries in a 
group of decorative sculptors whose signatures call them 
Athenians, and hence are commonly described as the 
Neo-Attics. They were the makers of those gigantic 
marble vases (pl. 83) surrounded with a row of figures 
in relief, each a stock type taken from their repertory 
without much regard for the context it was destined 
to adorn; in their other work the same figures are 
used, repeated on panels and friezes in marble or 


48 


ADAPTATIONS OF OLDER WORK 


terracotta or stucco, on furniture, on gems, on the em- 
bossed Arretine pottery manufactured between 40 B.c. 
and 80 a.p. ‘The types are borrowed from all possible 
periods, and no matter what the subject they are all 
treated in the same fashion, lifeless yet effective as 
decoration, like Leighton’s pictures of antiquity (pls. 
84-87). The school was most productive during the 
Augustan age, although it originated before the end of 
the second century. A statuette (pl. 88) is one of its 
earliest products : the type itself is taken over from the 
late fourth and third centuries when it is common in 
Tanagra terracottas, but the thin outer garment is 
skilfully treated to reveal the folds in the tunic beneath, 
a trick invented, as we have seen, shortly before the 
middle of the second century ; the soft modelling of the 
face is also usual at that time, while elongated bodies 
are customary in the mannered sculpture of any age. 
The stucco ceilings of an early imperial house at 
Rome include good examples of much of the typical 
decoration of the period at which the Neo-Attics reached 
theiracme. A winged Victory (pl. 87b) attenuated and 
exquisitely poised, and wearing a floral crown, is a 
popular adaptation from a type of the fourth century 
archaistic school; the panels of women smelling a 
flower (an archaic motive), have the same affected 
features as a gravestone from Sardinia (pl. 89) ; and 


the untidy Italian landscape (pl. 86b) shows the feeling 
D 49 


sy 


VAT £ RGR EE RSS CoUsiePel Ue Rar 


for nature only at its mildest, that runs through all 
Latin literature. The source of reliefs and paintings of 
country life can be traced back through the Telephus 
frieze to the Corinth relief of a sacrifice (pl. 41a) ; they 
are now established as a recognised form of art, but the 
full development was reserved for the first and second 
centuries A.D., and is therefore outside the sphere of 
this book. Its work is done when it has determined 
Roman art to be in fact an unbroken continuation of 
Greek art, with the stimulus and guidance of Roman 
patronage. 


50 


CHAPTER 6 


fev l IN THE HELLENISTIC AGE 


Ar this period the history of the western Mediter- 
ranean is almost monopolised by the expansion of Rome, 
which had already overcome the Etruscans, which 
crushed the Greek colonies of south Italy early in the 
third century and obliterated Carthage in 146. 

Except in France, where art was prohibited on religious 
grounds till Cesar broke the power of the Druids, 
Greek influence predominated through this region ; 
in the fifth century it had even given rise to a vigorous 
school of sculptors in Spain, though this had died away. 
A new centre appeared at Carthage. In primitive 
times Egypt had its effect here as in other Phcenician 
zones, but soon the local terracotta figurines were in 
semi-Greek style, and one of the sarcophagi, which alone 
represent large sculpture, was obviously designed and 
carved by a Greek, for it is normal Athenian work of 
the early fourth century. Other sarcophagi of Parian 
marble are possibly by Greeks, but the figures on their 
lids take the shape of recumbent effigies, whereas in 
Greece, cremation had led to the use of upright ceno- 
taphs, hence no complete analogies can be cited. The 
finest sculpture yet discovered at Carthage is the coloured 


Si 


DAVE EUR 2G REE sR iKees CoUs Libs UeRek 


sarcophagus of a priestess wearing the robes of Isis and 
Nephthys, her body hidden by the two wings of the 
sacred vulture which wraps her round from head to 
foot (pl. goa). It is singular that the bones within the 
sarcophagus were those of a very aged woman, though 
on the lid she appears in the prime of life. 

An ornamental cuirass from another Tunisian tomb is 
paralleled by some South Italian specimens; an Etrus- 
can inscription, moreover, was found in a Carthaginian 
cemetery, whilst from Corneto comes a sarcophagus of 
Parian marble closely resembling the Carthaginian 
specimens. Obviously, artistic relations with Italy 
were closely maintained. 

But Italy at this epoch was politically and culturally 
a greatly diversified country. Most important were 
the civilised city-states of the Etruscans in the centre 
and of the Greeks in the south and Sicily, dour Rome 
(in the hands of those elderly patricians so much admired 
by their descendants, and bearing much the same 
cultural relation to Etruria as Canada to the United 
States), and the scattered Roman colonies. In addi- 
tion, there were numerous tribes of various stocks and 
languages that came under Greek influence if they 
lived in the South, Etruscan if they lived in the Apen- 
nines, both if they lived in Campania. A mass of Gauls 
in the Lombard plain imported a few objects of Etruscan 
art, in rare instances producing unsuccessful imitations 


§2 


fetebenWaelssets [oN T Hoe oH Biol Ee NS i 1 CA GE 


of them. In the foot-hills of the Alps, in Switzerland 
and in the Tyrol, was a peculiar form of art, chiefly 
represented by bronze buckets engraved in bands with 
crude figures derived from Greek and Etruscan vases 
of the early sixth century : it lingered on for centuries 
practically unchanged, so that in the frieze of an arch 
built in honour of Augustus at Susa, near Turin, can be 
traced a mixture of this old style and the ordinary 
Roman. A carved stone throne in the Corsini Gallery 
(pl. 91), must belong to some such local school of 
perhaps the third century ; in plan it resembles the 
chairs used in Etruscan tombs for holding anthropomor- 
phic vases. 

The Greek cities of the south coast declined during 
the Hellenistic period, partly because they came into 
collision with Rome, partly, it may be, from the 
malaria that has now resulted in the desertion of large 
stretches of shore-line which formerly supported a great 
population. The arts of Magna Graecia flourished 
most in the fifth century, a decline commencing in many 
towns in the fourth ; at Tarentum, the most important 
of them, coins and ornamental vases and _ silver-plate 
ceased to be of interest in the third century, and soon 
after ceased to be produced. Canosa seems to have 
been the only place where the output of vases was con- 
tinued into the second century, and they can hardly 
pass as fine art ; it may be significant that its inhabitants 


a 


LA T(E. RG REE KyS C UelePad Uy RE 


were not purely Greek—in Horace’s day they were 
“ pilingui.”’ 

A curious relief from the neighbourhood of Bari 
(pl. gob) gives us a limestone version of the floral decora- 
tion common on painted Apulian vases ; in the middle 
is a winged figure of Eros and on the right-hand edge 
a diminutive griffin. The sloping line of the top 
suggests the right side of a pediment, which from its 
scale probably belonged to a tomb. ‘The composition 
is frankly pictorial, for North Apulia was the home of 
painting, not of sculpture. 

On the other hand, South Apulia, the Tarentum 
region, abounds in terracotta heads and is fairly rich in 
stone sculptures of the fourth and third centuries, 
principally friezes and other fragments of sepulchral 
monuments. ‘The style is fifty years behind the times, 
scarcely to be distinguished from that of late fifth 
century sculpture such as the Phigalia frieze in the 
British Museum. ‘Thus a relief of a soldier (pl. 92a) 
has recently been ascribed to the early fourth century 
because of its classic severity, although the under- 
cutting of its drapery to produce effects of light 
and shade ought to preclude any dating before 
300. A slight» trace of Praxitelean life = hase peer 
infused into a female head cast in plaster from an 
ancient mould (pl. g2b); some terracotta heads have 
features resembling Alexander’s, being no doubt of 


54 


Deane teVebto wl IeN Db Hoey LEN TS ft G A GE 


the third century ; sculptures of more recent date 
are rare. 

The rest of South Italy and Campania have yielded 
practically no sculptures, while the Sicilian contribution 
consists merely of some coarse rock-carvings of local 
deities and a colossal head of Zeus from the great Altar 
of Hiero II at Syracuse, in the style of the Pergamon 
Altar ; a few statues at Syracuse are as likely to be of 
the Imperial age. A pair of heads found in the sea near 
Girgenti, now in the British Museum, have been called 
Hiero and his Queen Philistis, though more like work of 
350 than 280. 

Whatever the causes, it is certain that sculpture had a 
short and inglorious life in Greek Italy, although among 
the Etruscans it flourished for six centuries, almost 
equally ingloriously. 

The Etruscans had adopted the art of Greece whole- 
heartedly as soon as it was worth adopting, but utilised 
its forms to express their own life and religion ; they 
produced no more slavish imitations after the fifth 
century. ‘They were a people greatly concerned with 
Death, who needed sculpture less for the decoration of 
temples than for sepulchral effigies, the thousands of 
which follow set types without differing much from one 
another, like the portraits in Egyptian tombs. ‘This 
would inevitably make them somewhat dull and, in 
addition, the quality of the workmanship is usually 


Bi) 


DATE R G ROE E Kes C UL Peo eR LE 


extremely low; yet Etruscan sculpture deserves atten- 
tion for two reasons, its influence on Rome, and its 
resemblance to the Renaissance work of the same 
district. The first is, of course, the subject that concerns 
me here, though it may not be out of place to attempt 
an explanation of a remarkable historical phenomenon. 
The Etruscans, who formed at least the ruling class of 
the country, were immigrants from Asia Minor, accord- 
ing to ancient tradition as well as philological and 
archeological evidence, yet as their invasion did 
not cause a sharp break in Italian culture, it must be 
assumed that a large proportion of the original inhabit- 
ants were allowed to remain ; in historic times the nation 
appeared to be homogeneous. It spoke an unknown 
language, and all the information we possess is derived 
from its monuments and the unflattering descriptions of 
ancient authors ; the Romans had been Etruscan sub- 
jects in the far-off days and had fought for centuries 
before they gained the mastery, so it may be that they 
were unjustly prejudiced, but the Greeks, too, were 
shocked at Etruscan habits; gluttony, superstition, 
and a canine interest in sex, are the failings ascribed to 
the Etruscans, and the first at least is a fact, of which 
study of sepulchral figures affords convincing proof. It 
can be established too that they had full features, thick 
bodies and short legs; their faces were sometimes 
handsome, if fleshy, but a large number of both men and 


56 


Genet Web onl TON Tan Ee Hee LEN PS tt CAG E 


women were of striking ugliness. ‘This is at the present 
day the dominant type in the population of central 
Italy (including Rome), and it would seem that they 
have to some extent inherited the zxsthetic and moral 
ideals of the Etruscans as well as their physical aspect. 
The stock must be strangely persistent, for there are few 
traces remaining of the ancient Roman element or of 
the Germans who formed the upper class families in 
medieval Tuscany. 

The ordinary type of portrait statue represents the 
deceased drinking with garlands round his head and 
neck, a Valhalla motive common in Greece and else- 
where: the pose originated with the banqueters on 
archaic Athenian vases, and remained in use till the 
Etruscans ceased to exist as a nation in the first century 
B.C. ‘Toscanella,a place near Corneto, is the source of a 
man’s sarcophagus decorated with sea-monsters (pl. 93), 
and of an unusually pleasing figure of a woman (pl. 94a) 
in which the drapery over the legs is arranged in con- 
ventional folds, although the face shows that Etruria 
was in touch with the Greece of Alexander’s day ; 
another man’s sarcophagus from the same site (pl. 95) 
clearly belongs to a more advanced period, in fact to 
the third century. 

The preceding large sarcophagi are intended for the 
reception of unburned bodies, but the practice of 
cremation became more frequent in the third century 


5, 


DAT Et Re G2R iE BRS Cy Us Le Pe Rae 


and the ashes were deposited in rectangular urns, the 
lids of which retained the traditional figure with a 
drinking bowl, while the box underneath bore elabor- 
ately carved reliefs on front and sides; the subjects 
were usually chosen from Greek mythology. For 
cheapness’ sake terracotta was much used, and the 
reliefs of many urns have obviously been cast from the 
same mould. A marble urn in Florence (pl. 96) has 
an unusually fine battle scene that immediately recalls 
the Alexander Sarcophagus, but the involved composi- 
tion, the extremely vigorous attitudes, as in Pergamene 
groups, and the painful terror of the fallen, will not 
allow of an earlier date than the middle of the third 
century. A kneeling soldier in the left-hand corner is 
defending himself with a shield of the oval Gallic variety, 
and side panels deal with incidents in the legendary 
raid on Rome, interest in which would have revived after 
the reappearance of the Gauls in the third century. 
Alexander’s careless, florid beauty, found ready ad- 
mirers in Italy, and his features are reflected in the 
heads of this urn and many others as well as in Tarentine 
terracottas and in the terracotta pediments of the Temple 
of Apollo at Old Falerii, one fragment of which appears 
in pl. g7a. Falerii was destroyed in 241 by the Romans, 
who built a new town four miles away, and although the 
Temple was left standing among the ruins till early 
in the Empire, it is safe to assume that its pedimental 


58 


ereteevWebis tf ol Nyt H Bb Hor DeLee N lS Tol C AGE 


sculptures antedate the removal of the city. It should 
be said that the surface of terracotta is better adapted 
to sculpture than the coarse local rocks of Etruria, life- 
size painted statues were made of it as early as the sixth 
century, and its popularity was not affected when the 
alabaster of Volterra came into general use towards 
200 B.c. The marble quarries of Carrara were first 
worked by the Romans, Etruscan sculptures and temples 
in the neighbourhood were of terracotta. 

Of four terracotta heads discovered a few years ago at 
Arezzo, one is scarcely to be distinguished from Greek 
work of the beginning of the second century (e.g., the 
Pergamene Gigantomachy and the “ Dying Alexander”’ 
of the Uffizi), whilst the others follow the ordinary 
lines of distant Greek ancestry such as we see on the 
urns. Other instances of Pergamene inspiration are 
afforded by a number of bronze statuettes of fighting 
Gauls, including two found at Telamon, where their 
invasion of Italy had been finally checked in the battle 
of 225, and by terracotta groups from the pediments 
and frieze of a temple near Sassoferrato. In a portion 
of the frieze reproduced on pl. g4b, the Gauls who 
raided Delphi in 279 are dropping their loot to escape 
the quicker from the assaults of Apollo and Artemis. 

How closely the better Etruscan artists continued to 
follow the Greek lead is shown by the bronze Orator 
from Lake Trasimene (pl. 97b). A similar rendering of 


3g 


LYA ST ERY GeRen eR aC Usle rat su. Rak 


the garment occurs in a statue at Delos of the merchant 
Dioscurides, dated by the inscription to 138 or 137, and 
were it not for the unfortunate accident that honorary 
statues of that time were nearly always in bronze and 
have therefore been melted down, we should no doubt 
have many others with which to compare it. 

The most richly ornamented of all later Etruscan 
tombs is the family vault of the Volumnii outside Perugia, 
and one of the urns within it is of equal magnificence 
(pl. 98). Dennis’ romantic account of “the grand 
monument of the sepulchre,” conveys the impression 
aimed at by the sculptor, besides describing the now 
faded painting. ‘‘ In the centre is represented an arched 
doorway, and on either hand sits, at the angle of the 
urn, the statue of a winged Fury, half-draped, with bare 
bosom and a pair of snakes knotted over her brows. One 
bears a flaming torch on her shoulder, and the other 
probably bore a,similar emblem, but one hand, with 
whatever it contained, has been broken off. They sit 
cross-legged, with calm but stern expression, and eyes 
turned upwards, as if looking for orders from on high, 
respecting the sepulchre they are guarding. ‘The arch- 
way is merely marked with colour on the face of the 
monument, and within it are painted four females— 
one with her hand on the door post and eyes anxiously 
turned towards the Furies outside—wishing, it would 
seem, to issue forth, but not daring to pass the threshold 

60 


Teele Wel Sole loN) tins Es HE LEN USil IGA GE 


through dread of their stern gaolers.” A subsequent 
member of the Volumnii family made use of the vault 
for the reception of his own urn, which is shaped like a 
Roman temple and bears his name in both Etruscan and 
Latin; the lettering and ornament alike class it as 
Augustan. A few scraps of evidence lead one to guess 
the length of time between the first and last burials as 
between fifty and one hundred years, so that the incep- 
tion of the tomb may be placed soon after 100 B.c. 
That the man who lies in the best urn was the builder 
of the tomb (or rather the excavator, for the material 
is solid rock) is attested by the presence of his name and 
his brother’s on the doorway—the rest of the inscription 
is of course unintelligible—as well as by the style of the 
roof and wall carvings, which appear to be by the same 
hand as the guardian demons. 

Etruscan sculpture of the last period favours remark- 
ably high relief, baroque poses and a gealism that, as in 
contemporary Greece, will mitigate no ugliness. A good 
example of Volterra alabaster (pl. gg) displays all 
these tendencies, while a terracotta urn from Chiusi 
(pl. ro0a) is by no means unsurpassed in fidelity to 
unpleasant nature. The British Museum has recently 
acquired the lower part of an alabaster urn (pl. 101) on 
which is represented a religious procession ; horsemen 
in Roman equipment and carrying branches are moving 
two deep, preceded by men playing the lyre and the 

61 


LACE E Re GeRTEtE KS Cru WEP ey Wikia c: 


double flute, towards a little shrine where a sheep is 
being sacrificed. ‘The scene and its details immediately 
recall Roman usages, and it has been surmised that we 
have here a troop of knights taking part in the annual 
ride through Rome that celebrated the battle of Lake 
Regillus. But there can be no doubt that the urn is of 
Volterran alabaster, while the mouldings above and 
below form the customary decorations of Volterra urns ; 
the style, too, is that of Volterra. ‘The date can hardly 
be earlier than the first century ; the inhabitants of the 
town were then Roman citizens, and the man who 
ordered this urn may have been a knight who wished to 
advertise the fact. In any case such a well-marked 
prototype of the Roman historical relief is valuable 
evidence that the style not only originated in Etruria, 
but had developed there along the lines maintained in 
Rome. 

A glimpse of the condition of sculpture in early 
Rome may be gained from a monument erected by the 
Fluteplayers’ Guild about the time of Sulla—the date 
is established by the lettering. It was a large and 
pretentious affair, but the figures (pl. 102a, b) are in 
peperino, a vile form of lava that looks like coke, and 
they prove, I think, that the Rome of the early first 
century had barely begun to be an art centre. It was 
in fact at this time, about 80 B.c., that the ~ second © 
style’ of Pompeian frescoes made its appearance in 

62 


(ele be Wet sot ION Tt HE HL be NIS fr C AGE 


both Rome and Pompeii; previously, walls had merely 
been laid out in panels, but now they are painted with 
fantastic architectural conceptions, classical counter- 
parts to the Albert Memorial. A city that indulged in 
such art was plainly abreast of the times. Contempor- 
ary buildings reach a high standard, their decoration 
being equal to any Rome ever produced, yet figure 
reliefs are mostly as crude as the Fluteplayers’ Monu- 
ment, and little can be said in favour of the terracotta 
votive heads that form the commonest sculptural relics 
of the Republic, and were still made throughout the 
first century of the empire (predominantly in Rome, 
but the idea was possibly taken over from Greek 
Apulia by the Etruscans). 

The rapid Hellenisation of society during the life- 
time of Pompey and Cesar attracted Greek artists to 
Italy in large numbers ; some had visited Rome shortly 
after 150 to equip new temples with cult-statues. 
Republican portraiture is, as I have pointed out above, 
a continuation of the art that flourished at Delos before 
the catastrophes of 88 and 69: Greeks must be held 
responsible for most of the Republican portraits, though 
a few are due to Italian imitators; thus a limestone 
head from Palestrina (pl. 103) betrays the local sculptor 
with Etruscan rather than Greek training, recalling the 
terracotta urn from Chiusi (pl. 100a) more than the 
Greek portrait of Pompey (pl. 62a). Such instances 


63 


LATER GREEK SCULPTURE 


are rare, the old-fashioned craftsmen largely confined 
themselves to terracotta, and even in this material the 
native style soon perished. ‘The depth to which Greek 
influence penetrated in the applied arts can be judged 
by the crude bone carvings ornamenting couches of 
approximately Augustan date: a half-length of a woman 
(pl. roob) has at first sight an Etruscan air, but the 
garments can only be intended for Greek, the arm is held 
in a traditional Greek pose across the breast, wrapped 
inside the drapery; half-lengths are usual in late 
Hellenistic sepulchral monuments from Asia Minor ; the 
whole, in fact, is imitated from a conventional Greek 
statue. 

The vast majority of “ Republican ” portraits belong 
to the century following Cesar’s death in 49; there is 
no evidence indeed that many are previous to the founda- 
tion of the empire in 27. The realistic manner was not 
entirely swamped by the Augustan wave of archaistic 
sobriety : the idealistic portraiture which enjoyed the 
patronage of the imperial family did not commend 
itself to private individuals who desired genuine 
likenesses, so there is no break in the production of 
‘““Republican”’ portraits, merely a gradual improvement 
exemplified by datable bronze busts from Pompeii, 
until the style came again into publicity with Vespasian, 
a man with a sense of humour who felt no need for sham 
dignity. Perhaps his Italian country origin induced 


64 


DedeeeeWeboet ION TH ob HEL LEN TS iC A GE 


him to revert to a less foreign art, for the Etruscan high- 
relief style used under the Republic, and eclipsed by 
the Augustan pictorial low-relief, returned to official 
use in panels of the Arch erected by his son Titus. 
Credit is justly given to the Etruscans for originating 
the Roman historical reliefs, but their share in the 
development of portraiture is a myth, for in this respect 
they merely followed the course of Greek developments 
so far as their vulgar taste was able. ‘The Romans them- 
selves took no share in the growth of their national 
art, except by reserving their patronage for the style 
that pleased them and specifying subjects drawn from 
Roman life. The majority of sculptors in the city 
appear to have been foreigners from further east, 
though local workmen and dilettanti imitated them: a 
divergence in style between the western (Latin-speaking) 
and eastern (Greek-speaking) sections of the empire 
is apparent, but most of the rare signatures attached to 


bi 


“western” sculptures give the names of Greeks. 


CH ACPD ER oy 


THE HELCUCENTS T 1] Gaya 


‘Larover the Greek cities of Cyprus and the treaty- 
ports established on the mouths of the Nile, Greek 
art was introduced to the admiring East as soon as it 
had outgrown the crudities of its beginning: the 
Cypriotes immediately gave up copying the Egyptians 
and developed along lines similar to those of Greece, 
and Dr. H. R. Hall has pointed out that Egyptian 
sculptors adopted the “ archaic smile ” towards the end 
of the sixth century. The Persians were familiar with 
the new art before their empire’s extension to Egypt 
and Cyprus, for the AXgean coast of Asia Minor had 
long been thickly peopled by Greeks, and other settle- 
ments were scattered along the south coast. ‘The court 
art of Darius and later Achemenians, a Mesopotamian 
development compounded with Egyptian elements, 
drew much of its technique from Greek sources, so that 
the old Assyrian rendering of limbs, drapery, hair and 
eye-sockets became quickly modified in accordance 
with Greek advances in skill. By the end of the dynasty 
minor works of art were directly inspired by Greeks, 
though the royal reliefs kept to the old forms. Alex- 
ander’s policy of planting Greek cities, enthusiastically 
66 


Siete eet eh eee boN) Seale Cun tArS sh) 


followed by his successors, resulted in a speeding-up of 
the inevitable process of Hellenising Oriental art, but 
the cities themselves went the usual way of the Levant : 
their population became cosmopolitan, and, at any rate 
in Egypt, sense of nationality faded in the original 
settlers’ families, intermarriage with natives or other 
foreigners helping to break down their Hellenic culture. 
These tendencies are clearly visible at Alexandria, where 
the oldest sculptures are just like those in any other 
Greek town (¢.g., pl. 17a, b); the third century 
output is very large, of poor quality and remarkably 
uniform, the work of monumental masons rather than 
artists (though the portrait of Queen Arsinoe, pl. 36, 
is a fine achievement in the best Greek style of the 
period) ; in the second century the amount is small 
and the quality lamentable. At the same time Greek 
residents often patronised native sculptors, who con- 
tinued to work in the old Egyptian style, though Greek 
influence is evident in the reliefs of a tomb dated about 
300, while in the first century a few portraits of a 
mixed style appeared, the bodies rendered in traditional 
attitudes and the heads in asemi-Greek manner (pl. 104¢): 
apart from these, Egyptian art remained completely 
Egyptian. The Greek colonies were in fact being fast 
absorbed in the surrounding population when the 
Romans revived their culture by increasing their 
political importance ; the portrait paintings and stucco 


67 


DA EeR GtRSE EK (Ss C.U else ere E 


busts of Roman Egypt are the work of half-Orientalised 
Greeks who mummified their dead and worshipped 
local deities. 

Egyptian culture had long ago spread over the nearer 
parts of Africa and at one of its outposts, Meroe, 
capital of an Abyssinian kingdom in the Sudan, recent 
excavations have established the surprising fact that 
Greek objects were imported intermittently as early as 
the fifth century and constantly from roo B.c. to the 
second century A.D., provoking rare native imitations ; 
the presence of an Etruscan urn proves intercourse also 
with Italians. Egypt under the Ptolemies was a great 
power, with protectorates as far away as the Agean ; 
among its dependencies was the Cyrene district to the 
west, purely Greek in its civilisation ever since the 
seventh century colonists had crushed the native Berber 
population, and Cyprus, inhabited by both Greeks and 
Pheenicians, whose sculptors tried in their portraits to 
effect Hellenistic realism with the use of as little model- 
ling as possible, while in other lines they monotonously 
repeated older Cypriote types with bad workmanship. 
Pheenicia also came occasionally under Ptolemaic rule, 
and there is an Egyptian element in sculpture of the 
period ; the art of this people was always a more or 
less incongruous blend of all others known, Greek and 
Egyptian influences being the most prominent in 
classical times. One of the best of the later monuments 

68 ; 


46 DSU 12 ABD AS IG Ae ao sp ey GPa Cte ID ANAS 9b 


is the gravestone of Baalyaton (pl. 104b), which can be 
dated by the lettering to the second century ; the figure 
stands in the Assyrian attitude of worship, the feet are 
placed one before the other according to conventional 
Oriental perspective, the details are treated in Greek style, 
and on the top we see the winged disc of the Egyptian sun- 
god. Other gravestones of natives show Greek motives 
inefficiently carried out, whilst the painted stones of 
mercenaries stationed at Sidon are purely Greek; a 
certain number, too, of sculptures in the pure Greek 
style are known, besides the “* Alexander Sarcophagus.” 

The decay of Greek towns in the Seleucid empire 
cannot be traced with such detail as Egypt affords, 
because the evidence is scanty: no important Hellen- 
istic site has yet been excavated in Syria, inland Asia 
Minor, Mesopotamia, Persia or Afghanistan, and in 
these partially or wholly desert regions, fortuitous 
discoveries do not occur as in Rome or Athens or Alex- 
andria. Antioch, the final capital of the Seleucids, was 
one of the largest and richest of Hellenistic towns, yet 
we know nothing of its art before the Roman period ; 
Armenia has yielded a fine bronze head of Aphrodite 
(in the British Museum) in the style of the Telephus 
frieze ; from Seleucia on the Tigris, the seat of a Seleucid 
viceroy, comes a head of a priest wearing a fillet, now in 
the Brussels Museum; in plan and ornament, the 
theatre at Babylon is purely Greek, and occasional 


69 


LAIR E RR GREE Roy S Co Libel Ua Rae 


statuettes of more or less degraded Hellenic work are 
brought from Babylonia; the ruins of Ionic temples 
may be seen in Persia and a pair of satyr heads found 
near Kermanshah seem to be Greek of the third century ; 
nothing has so far been reported from Afghanistan. 
The Greek language was widely used for inscriptions 
(the alphabet, moreover, was adopted, with a few extra 
letters, for writing the local Semitic dialect), and the 
colonists were faithful for a while to their old religion, 
yet there is no reason to believe that the better features of 
Hellenism endured for long in the new cities, or that their 
inhabitants were noticeably more artistic than is to be 
expected in colonists. 

But the effect on the Asiatics was far-reaching, 
causing as much alteration in their art as had been’ 
effected in the previous twenty-five centuries of its 
existence. Early Seleucid cuneiform tablets from 
Southern Babylonia were sometimes stamped with 
Greek carved seals, the distinguishing signets of Semite 
merchants, and henceforth native-made seals follow 
Greek models. The local terracotta figurines, the 
commonest form of sculpture at the period, were 
chiefly intended for magical purposes, to be buried 
under the floors of houses as a protection against the 
devils who caused sickness, hence types already cent- 
uries old are continued for the sake of their ritual 
efficacy, but the modelling of heads of drapery and of 


7O 


(eel eetiebeurLebeNele Sela liCGwebrAtse) 


the nude is freshened by the Greek style; in addition, 
genuine Greek types are copied, such as the Europa 
(pl. 105b) and new types are created in Greek technique 
such as the musicians (pl. 105a, the monkey might prove 
a stronger exorcist than the woman, for devils feared 
ugliness as well as noise), The immemorial type of the 
nude goddess, the religious significance of which 
remains obscure, is now lightened in accordance with 
Greek refinements: the clumsy statuette on the left 
of pl. 105b does not depart far from its prototypes, 
though its material is Pentelic marble; the smaller 
figure on the right is of Assyrian alabaster but shows 
more of the Greek spirit. The modelling of the face 
in these statuettes and in Europa comes very close to 
the ancient manner of the country, so that in the case 
of separate heads it is sometimes hard to decide whether 
the date be 2400-2200 or 300-200 B.c.; this is 
especially curious as the work of intermediate periods is 
distinctive. We have good reasons for supposing that 
the vast majority of statuettes were made for Babylonians 
and not Greeks, as well as by Babylonians; thus a 
recumbent alabaster statuette of a nude woman, found 
at Babylon, is unusually Hellenising but has the hair 
applied in bitumen, following the old magical rule 
of using “ black clay.”’ 

The eastern half of the Seleucid empire was gradually 
absorbed by Parthia, a military state founded about 


7M) 


LATER GREEK SCULPTURE 


250 on the north-east edge of Persia by adventurers 
of a nomadic people akin to Turks. They conquered 
Babylonia towards 150, by which time they were 
already living in considerable luxury and had acquired 
an art based on the Achemenian reliefs. Just as the 
Turks employed Greek architects to build the earlier 
mosques in Constantinople in the Byzantine manner, 
so the Parthian kings made full use of the Greeks and 
called themselves Philhellenes on the coins, which are 
inscribed in Greek and bear portraits in a style at first 
profoundly Hellenised and later more Persian (pl. 106a). 
The Babylonians produced similar figures in terracotta, 
both coffin-reliefs and statuettes; small bronzes are also 
known, but few large Parthian monuments before the 
Christian era exist in Persia or Iraq. In these regions, 
however, art does not change rapidly (except under 
external influence such as came in with Alexander), 
and the later work can be taken as representative, for the 
coins are but slightly modified in style till they begin 
to degenerate (simultaneously with the appearance of 
legends in bad Greek or in Pehlevi) following the 
reign of Gotarzes, who, in 43 A.D., cut a relief under- 
neath Darius’ great sculpture on the rock of Behistun ; 
it can never have been a good relief and is now badly 
defaced, yet enough remains to bear witness that the 
composition and poses were inspired by the long-dead 
Assyrians, while the details owe more to the Greeks. 


72 


Tele ber Heb Leet eNetes i bi C eR ACS TT 


It proves, too, that in rock-sculptures the Parthians 
initiated the style lavishly used by their Sassanian 
successors ; the same applies in architecture and coins, 
and, we may guess, in silver-plate and in textiles, for 
which Persia was already famous. 

Antiochus of Commagene, who died between 38 and 
31 B.c., the king of a small Parthian dependency on the 
south-west of Armenia, came of a family rather more 
Persian than Greek, and his large monument on a 
mountain called the Nimrud Dagh shows that he 
favoured the mixed Greco-Oriental art adopted by his 
rulers; a slab of the king in company with Apollo 
(pl. 106b), an obviously Oriental conception, recalls in 
its general lines the old Hittite rock-carvings of the 
same district, although the details are predominantly 
Greek. ‘The style continues during the Christian era 
in the sepulchral reliefs of Palmyra, an oasis command- 
ing the main caravan route from Syria to Mesopotamia, 
from the Roman to the Parthian empire; the family 
group (pl. 104a) of a mother seated with her four sons 
can be ascribed to the first century from its resemblance 
to the Nimrud Dagh monument, and to other Palmy- 
rene sculptures, the dates of which are recorded upon 
them. As time passed and Palmyra from its growing 
importance came more into closer contact with the 
West, its style became totally dependent on the Greco- 
Roman, as may be seen by a bust (pl. 107a) of 


aS 


LATER GREEK S\C UsL P TU ROE 


approximately 100 A.D., so that before the destruction 
of the city in the third century, its art had become a 
mere local form of the general art of the Roman empire. 

Palmyra, however, was not typical of Syria, a naturally 
divided country in which political and cultural uni- 
formity have seldom been established : the Phoenician 
coastal area has already been mentioned, nothing is 
known of North Syria, there remains the land on either 
side of the Jordan. A palace built about 180 B.c. for 
the Maccabean Hyrcanus may be identical with a ruin 
in Transjordania; the architectureis Oriental with Hellen- 
ised touches, and the frieze of lions that runs across the 
porch is of Babylonian derivation. The Nabatean 
Arabs pushed through this district a hundred years 
later, penetrating as far as Damascus ; they were soon 
dislodged from the city and its surroundings, as always 
happens with these Beduin invasions, but continued to 
hold the road by which the spices came up from Arabia 
Felix; they also ruled the isolated piece of corn-land 
known as the Hauran (fifty. miles south of Damascus), 
for the greater part of the first century, and have left a 
few surviving buildings there. These have been in- 
vestigated by a Princeton University expedition whose 
leader, the late H. C. Butler, reported that the earliest 
ruins employ distinctly Greek forms, the accompanying 
inscriptions being in both Greek and Nabatean; those 
of the middle of the century are constructed in a mixed 


74 


THE HELLENISTIC EAST 


style containing Persian features, inscriptions being now 
in Nabatean alone, with mason marks occasionally in 
another Arab script, whilst the latest pre-Roman build- 
ings are purely Oriental in style, these being presumably 
subsequent to Herod’s annexation in 23 B.c. 

Palestine is poorer than ‘Transjordania, and its monu- 
ments have been more subject to destruction by war 
or for building purposes: it is not surprising, therefore, 
that no Hellenistic buildings are extant, and the Mosaic 
veto on representational art kept it free from sculpture, 
except for some reliefs of lions in Galilee, one of which, a 
most primitive-looking piece, is reported to have come 
from the palace of Herod Antipas at Tiberias (Palestine 
Exploration Fund, Quarterly Statement, April, 1926, 
plate facing p. 66); another equally crude example 
is carved over a Nabatean tomb in the Hejaz (Doughty, 
Arabia Deserta, plate facing p. 107), which is no 
accident but due to cultural homogeneity. Another 
instance of this is the presence outside Jerusalem of early 
examples of the architecture evolved by the Nabateans 
at Petra and in the Hejaz: “ Absalom’s Tomb ” and 
its two companions in the Valley of Jehoshaphat, were 
cut out of the rock in the reign of Claudius for the Queen 
of Adiabene (Assyria and Southern Kurdistan) and her 
sons, converts to Judaism. The main feature of this 
style is the combination of discordant elements, Doric 
triglyphs being conjoined with Corinthian capitals, 


Us) 


LA“ EER G*R ECE KesiG UlL) PTUs RAE 


Ionic friezes or Egyptian cornices, and the roofs ter- 
minating in pinnacles stepped like Flemish gables, 
the prototypes of which must be sought in Babylonia, 
in the crenellated tops of brick walls. 

The Himyarite Arabs bordered on the Nabateans, 
although their principal towns lay in the mountains 
of South-Western Arabia; their power extended as 
far as Aden (the famous tanks are due to them), but 
their home was the cooler region that lies behind it. 
They too were reached by Greek objects, for their coins 
were copied from Athenian issues, just as the Britons 
copied those of Macedonia, and their crude sculptures 
give evidence of Greek inspiration (pl. 107b), due no 
doubt to the images their kings are known to have 
imported. Aden, then as now, was situated on the 
sea-route to India, where a great fervour for Greek 
sculpture grew up at the time of Christ, and the 
passing traffic was responsible not only for the Hellenic 
elements that came into Himyarite sculpture, but also 
for the subsequent Greek influence in Abyssinian. 


aie. 


CHAPTER 5 


emer CR NISTIC TRADITION IN 
PmNreaas AON Do HEF ARE AS T 


Be eanisr an; the N.W. frontier and the Punjab, 
formed part of the Persian Empire and were duly 
annexed by Alexander when he supplanted the Ache- 
menians, but soon after his death in 323, a native prince 
overthrew the Greek representatives, establishing a 
dynasty that ruled South Afghanistan and all India 
except the extreme south. Ten years ago excavators 
found their palace to be an imitation of Persepolis; terra- 
cotta statuettes from the surrounding earth-rampart 
belong to a Mesopotamian class, loosely ascribed to 
the Parthian period from coins found in association 
with some specimens, the style, however, seems to 
have come into being before the Parthian conquest of 
Babylonia in the second century. The third king of 
the dynasty was Asoka, to whose Buddhist zeal (he was 
a convert) the oldest surviving Indian sculptures are 
due. To propagate the faith he inscribed edicts on 
' pillars that follow Achemenian types ; these have come 
to light in several parts of India and vary greatly in 
style. The finest of them, at Sarnath, a work of 242- 
232, carried a capital surmounted by three lions (pl. 108a); 


qe 


LAT ESR G REE KSC OslyP et Ui Ree 


these animals were formerly common in the desert 
region of N.W. and Central India; they might, there- 
fore, have been represented in a life-like manner as in 
Mesopotamian art, yet here they are obviously heraldic 
beasts. ‘The convention in which they are rendered is 
much the same as in Greece, with a slight Mesopotamian 
flavour in the carving, for which reason it has been 
urged that the artist must have been a Greek belonging 
to one of the Asiatic colonies. ‘The suggestion is almost 
certainly correct ; to the objection that the animals of 
the reliefs below were confined to India, yet are re- 
produced with greater accuracy than could be expected 
from a foreigner, it may be replied that Greeks were 
always curious about strange creatures, their Russian 
colonists revealed themselves as consummate draughts- 
men of the splendid horses bred by the Scythian nomads 
(the comb, pl. 16a, does not fully exhibit their powers 
in this respect). Frequent embassies that passed 
between the Seleucid and Indian courts point to 
considerable intercourse between these conterminous 
empires, and the presence of wandering artists is to 
be expected. 

The animals on other Asokan pillars are far inferior 
to those of Sarnath, which I believe is due to their being 
of native workmanship. ‘The surviving statues of 
human beings are even poorer, as is usual in primitive 
arts, and seem to owe more to the Perso-Mesopotamian 


78 


Totten LEN les DiC LRA DITION IN IN DIA 


style of the Achemenians and Parthians ; on the other 
hand, a three-sided capital from Sarnath, with semi- 
Tonic volutes and a relief of a horseman (pl. 108b), reveals 
Greek more than Mesopotamian inspiration, though 
the jungle background appears to be derived from 
native wood carvings. As far as can be seen there was 
no sculpture in India before Asoka, except a little wood 
carving, for his is definitely an incipient art and bears 
no trace of having had a lengthy development; the 
earliest pieces which served as models for the rest were 
probably the work of foreigners, trained in the Greek 
and Persian traditions that seem to have flourished 
equally in the Seleucid empire of the third century. 
Before Asoka’s death, the Greek governor of Bactria 
(N. Afghanistan) successfully revolted against the 
Seleucids, and the Parthians deprived them of Persia. 
The new Bactrian state was controlled by a number 
of Hellenic baronial families whose culture was com- 
pletely European so far as it can be judged from their 
coins ; these are the only surviving relics of it, for the 
portrait of Euthydemus (pl. 37a) was presumably 
taken on his visit to Asia Minor, in which locality the 
marble was quarried. Euthydemus seems to have 
begun the Greek re-conquest of India continued by his 
son, who was driven out of Bactria by a civil war and set 
himself up as ‘‘ Demetrius, King of the Indians,”’ while 
his successful rival founded another state in N. India 


12 


LAWVE RVG REE ¥S,C3U 1a PaUeRee 


with its capital at Taxila. Coins of both kingdoms are 
plentiful, and one large monument of ¢. 170 stands at 
Besnagar in Gwalior, a pillar of Persian style dedicated 
to Vishnu by Heliodorus, Taxilan ambassador at a 
native court. Meanwhile there are only slight in- 
dications of Greek influence in native sculpture; a 
great monument of about 150 survived till recently at 
Bharhut, a stupa (beehive-shaped edifice marking a 
holy spot) surrounded by sculptures genuinely Indian 
in style and in the life represented, and containing 
examples of many of the figure types to which Indian 
art was to remain faithful throughout its history ; here 
too is initiated the pictorial relief crowded with small 
figures, a variety of carving better adapted to wood than 
stone. A favourable example of the larger sculptures 
is the pillar with Kuvera, King of the Devils, and his 
wife, standing on appropriate pedestals (pl. roga) : the 
style is essentially that of the third century though 
more refined, the balance and the clear, smooth model- 
ling, at least in the male body, suggest Greek training, 
probably received through a Persian medium for the 
system of representing folds by parallel incisions is an 
Achemenian convention (though in some cases the 
floating scarves terminate in swallow-tails, a Greek 
archaistic trick, and edges of drapery between the legs 
are patterned in the ordinary archaic manner, repeated 
in some later sculptures, e.g., pl. 69). A similar 
80 


iGeteierliw rh NISL C LRADITION IN ITN DIA 


rendering of flesh as well as draped surface characterises 
the later Persian silver-plate of the Sassanian dynasty, 
and may have occurred on its hypothetical Parthian 
prototypes. No Parthian plate survives, but as the 
Oxus treasure contained a piece of fourth century 
Persian work, and as the Sarmatian silver of South 
Russia appears to show Parthian influence, it is safe to 
assume that Persia under this festive dynasty practised 
an art in which it excelled under the next. Further- 
more, medallion compositions are common in second 
century India, and it is hard to believe that reliefs 
would take this shape except in imitation of painted 
or engraved dishes like the Sassanian. 

Early in the first century the Buddh Gaya stupa was 
surrounded by a sculptured railing on which appear 
centaurs, “tritons” (pl. 108c), and a chariot of obvious 
Greek inspiration. Of greater significance is a gold 
casket containing Buddhist relics discovered in the 
foundation-deposit of another stupa, together with 
coins of Azes I, a king of the middle of the century 
belonging to a Scythian family, who had ousted the 
Greeks at Taxila and inherited a certain amount of 
their culture (Azes’ coins are direct imitations of 
his predecessors). [he decoration consists of heavily 
draped classical figures standing between pillars that 
are spanned by ogival arches. The architecture is 
manifestly not Hellenic, but the figures correspond 

F 8I 


LDA TER (GiReE BS CU UP Rae 


closely to Greco-Indian sculptures of the first century 
atfer Ghrist: 

These are very numerous and as a rule reach a high 
standard (pls. rogb, 110), employing Greek technique 
and occasionally introducing adaptations of Greek 
types. The zone over which they extended was at 
first restricted to Gandhara (S. Afghanistan and the 
N.W. Frontier), the rest of the country maintained its 
native (semi-Persian) style, more or less unaltered 
according to the remoteness or otherwise of the Hellen- 
ised region (the Amaravati Tope displayed on the Grand 
Staircase of the British Museum is a familiar example of 
Central Indian work contemporary with the Greco- 
Buddhist). Herein the conditions of a hundred years 
before were perpetuated, for just after Azes had been 
playing with Hellenism on the Indus, a truly Indian set 
of gates was erected at Sanchi, and another batch of 
Scythians at Mathura in Central India dedicated a red 
sandstone capital, composed of two lions back to back, 
a form invented by the Achemenians; Persian con- 
nections are also responsible for statues on the same site 
of the Gandharan kings who annexed this district, 
statues from which Greek influence is conspicuously 
absent and whose closest analogies are with the Nimrud 
Dagh reliefs of a Parthian subject-king (pl. 106b). 
In subsequent reigns Mathura became quite a centre of 
Hellenism, and the expansion of the semi-Greek style is 

82 


fetter Ee NIS TIC TRADITION FN INDIA 


therefore to be connected with the Gandharan Empire, 
the source of which may explain its art. 

Like so many others in Indian history, it had resulted 
from a successful invasion. ‘The invaders are first 
heard of as a horde of nomads on the western edge of 
China, known to Chinese writers as Yueh-chi. ‘They 
were turned out of their home by another nomadic 
people towards the middle of the second century, and 
stayed awhile in what is now Chinese Turkestan 
(Khotan), pushing the Scythian inhabitants of this 
district into Bactria, where they destroyed the Greek 
kingdom; fifteen or twenty years later, when the Yueh- 
chi were moved on again, the Scythians went into 
India and conquered one of the Greek kingdoms there, 
while the Yueh-chi took their place in Bokhara and 
Bactria. Here they gave up their nomadic habits and 
adopted a settled life under the leadership of the Kushan 
tribe ; ultimately, about 50 a.p., they extended to 
South Afghanistan and North-West India, annexing the 
remaining Greek state and the kingdom established by 
some Parthians, who, it would appear, had recently 
conquered the Scythians. 

A semi-civilised people by this time, the Kushans’ 
veneration for Culture was stimulated by their acquisi- 
tion of Buddhism, and through their generosity the 
hybrid Greco-Indian art which Azes had known, 
rapidly evolved in a more Hellenic direction. The 


83 


LATER GREEK SCULPTURE 


stock poses of Greek art were used for Indian deities ; 
the person of Buddha was now first represented, his 
presence having formerly been indicated by a symbol 
when required ; friezes of Greek marine deities or of 
cupids carrying huge garlands, were introduced ; Cor- 
inthian pillars and pilasters supplied an architectural 
frame to the figures in place of the singularly Gothic 
canopies of Azes’ reliquary. ‘The Gandhara kingdom 
corresponds in date with the Roman Empire, and its 
sculpture kept up with the developments of classical 
art: the pillars of its backgrounds are often identical in 
type with those of Syrian and Palmyrene architecture ; 
the decorative foliage is certainly taken from the same 
source (a relief from the Frontier is almost a replica of 
Palmyra and Hatra carvings of cupids and animals 
amid foliage) ; compositions in which large figures are 
placed one behind the other in perspective, are remini- 
scent of the historical reliefs of Roman arches; the 
clear-cut refinement of the best Gandhara statues 
(e.g., the saint, pl. rogb), is the principal merit of the 
archaistic school that supplied the Romans with delicate 
copies from the antique and was adopted in the portraits 
of Palmyrene tombs; the smooth-running, parallel 
folds revealed to artists by study of the toga, are respons- 
ible for the drapery of Buddha (as of our medizval 
saints) ; the crispness of Gandharan folds is a Palmyrene 
feature ; terracottas at I’axila are comparable to the 


84 


Hien LENIS TiC TRADITION IN INDIA 


products of Greco-Roman Egypt; an occasional re- 
miniscence of Alexandrian ivories crops up. It will be 
seen that there is less evidence of borrowing from Rome 
itself than from the eastern edge of the Empire, and it 
is worth remark that one of the few classical objects 
imported into India is a bronze Harpocrates of Greco- 
Egyptian manufacture. It is true that Indian embassies 
are recorded to have visited Rome occasionally, and other 
Indians may have penetrated as far; nevertheless, it may 
not be overbold to ascribe all the classical influence that 
distinguishes Kushan sculpture from that of Azes to 
Syria, Palmyra and Egypt. The connection was of 
course maintained by sea (a first century guide-book 
to the route by an Egyptian Greek still exists), and the 
volume of trade between India and the Red Sea was very 
considerable at this time of world peace, drawing off 
£4,500,000 of Roman coins per year as early as the 
reign of Nero. The Nabatean state of Petra, situated 
at the junction of caravan routes to the Persian Gulf, 
South Arabia, the Mediterranean, and the eastern horn 
of the Red Sea, grew rich by a duty of 25 per cent. on 
imports, and was therefore annexed by Trajan ; forts 
were built along the routes from the harbours of the 
Sudan to the Upper Nile, to protect caravans from 
beduin robbers ; a canal was kept open from the lower 
Nile to the Gulf of Suez. Meanwhile, Aden and its 
hinterland enjoyed prosperity under the Himyarites, 


85 


LATER GREEK SCULP2U RE 


whose system of water conservation made life easier 
in a country now largely desert, and whose position on 
the sailing route brought them wealth and civilisation. 
The Greek element in Indian sculpture faded away 
towards the fourth and fifth centuries, not before it had 
caused a profound change in the art of China. Gandhara 
naturally controlled the passes leading from Kashmir 
to Khotan, in what is now Chinese Turkestan, and as 
the art of Gandhara was the most advanced of these 
countries, Khotan adopted it. China, which had been 
in occasional touch with that region from the latter part 
of the second century B.c., struggled with the Gand- 
harans for its possession, but an outbreak of the chronic 
national anarchy enabled the distant provinces to secure 
their independence ; caravans still carried silk across 
Khotan on the way to India or Mesopotamia (both roads 
led eventually to Rome), but the goods passed through 
several hands and China derived nothing from the 
trade except money and a knowledge of Buddhism. 
Its art had been fully formed in all essentials when con- 
tact was re-established in the fifth century by ardent 
Buddhists, who penetrated to their Holy Land to bring 
back books and images. The first party of pilgrims 
spent six years on the overland route to Central India : 
the journey lay through a ghastly succession of deserts 
as far as Khotan, even in those days when cities flour- 
ished that are now buried under wind-blown sands, 
86 


itp Heb LLENISTIC TRADITION IN INDIA 


and the range on the Indian frontier was snow-covered 
throughout the year, besides being infested with 
“venomous dragons, which, if provoked, spit forth 
poisonous winds, rain, snow, sand, and stones: of those 
who encounter these dangers, not one in ten thousand 
escapes.” (The Travels of Fa-hsien, re-translated by 
H. A. Giles, 1923). Large ships, carrying up to two 
hundred passengers besides cargo, plied between India 
and Java, between Java and Canton, but the perils of 
haphazard navigation were enhanced by numerous 
pirates. Altogether, the returned traveller had some 
justification for his remark, ‘‘ Looking back upon what 
I went through, my heart throbs involuntarily and 
sweat pours down.” With all these difficulties there 
cannot have been many images introduced, and the 
exactitude with which the Chinese copied their style 
becomes amazing. ‘The oldest dated example of Chinese 
Buddhist art is a bronze statuette of 437, and sculp- 
tures in high-relief or in the round became plentiful 
soon after ; the first large rock carvings were, however, 
made by a tribe of immigrants from Central Asia. 
Buddhist sculpture was invariably in a style based on 
the Gandharan, for there had previously been scarcely 
any Chinese sculpture except reliefs which were, in 
fact, merely incised drawings with a flat surface to the 
figures, like the monumental brasses of medieval 
Europe, and for a while artists continued to employ this 


87 


LACT ER GR BeE Re SeCcU tLe Per Ree 


method of representing native personages and deities, 
though the Buddhist intruders appeared in high relief ; 
the two techniques occasionally occur on the same 
slab (pl. 111a). ‘The Buddhist art remained primitive 
and monotonous till the seventh century, when the 
T’ang Dynasty renewed intercourse with the West by 
land and sea, with the result that Indian work of a 
better class was introduced, and stimulated development 
along native lines. By that time the Gandhara style 
had given way in its own country to more truly Indian 
sculpture based upon it, but in Chinese religious art 
the influence of the first century was still supreme. 
The type of heads undergoes some modification to suit 
a Mongolian race (pl. 112a), but the Greco-Indian 
source can still be traced, the technique remains un- 
altered (pl. r11b), the ritual attitudes of Buddhist 
iconography are rendered in the first century manner, 
and we even find the motive of a line of cupids carrying 
a garland, but they have Chinese’ countenances and 
wisps of geometric clouds appear in the distance. 

The absence of Roman coins in Further India and 
China is an indication that no direct commercial re- 
lations were maintained, hence no direct Greek influence 
at this most flourishing period of Chinese sculpture can 
be admitted : the Greek aspect of many of the T’ang 
glazed statuettes is due to the mixed character of the 
Gandhara school, whilst the statuettes of actors masked 

88 


tenet ele beN TST. ec TRADITION IN -IN DIA 


in the Greek manner, can be accounted for by the 
existence at Kutcha in Turkestan, of a form of enter- 
tainment derived from the Greek mime. But the Freer 
Museum at Washington owns two late Roman (perhaps 
fourth century) statuettes of soldiers which came out 
from China with a miscellaneous lot of antiquities, and 
may safely be presumed to have been found there : 
the date of their introduction is, one would think, 
not long after that of their manufacture, and it was 
probably effected by a returned silk-merchant, though 
Roman subjects may have occasionally reached China 
by sea (somebody purporting to be an ambassador from 
Marcus Aurelius, visited the Chinese court in 166). 
Greek inspiration gradually faded in India when it 
had achieved the technical freedom of local artists and 
given them certain ideals of sensuous grace. Through 
the medium of Gandhara, the Greek subjects of the 
Roman Empire were responsible for the Chinese 
Buddhist statues (condemned by the native scholars as 
foreign and not art at all) and for giving an appearance 
of depth to Chinese reliefs and paintings ; early painters 
like Ku K’ai Chih and the early sculptors of two-plane 
reliefs had failed in the representation of three dimen- 
sions. ‘Through China and Korea, the Greco-Buddhist 
influence gave rise in the sixth century to Japanese art ; 
many of the consecrated types created in Gandhara 
were handed on, as will be realised by comparing an 


89 


LATER GREEK S CU LP DURE 


archaic Japanese statuette (pl. 112b) of the goddess of 
mercy (who originated as a male) with a Chinese statue 
of the same deity (pl. 111b) and the Indian saint (pl. 
109b), while the earliest frescoes in Japan resemble the 
Ajanta cave-paintings, the first of which belong to the 
Gandhara period and served as models for the rest. 
The debt of all Asia to the later Greeks becomes plainer 
and more impressive with each increase in knowledge. 


gO 


Beles lO Gaon Pabiey 


itzenr are only two recent books on the main subject, 
Guy Dickins, Hellenistic Sculpture (Oxford University 
Press), an incomplete posthumous work, and Wilhelm 
Klein, Vom antiken Rokoko (Hotzel, Vienna), which is 
useful as a collection of material, though based on an 
unfortunate theory that Greek and Renaissance sculp- 
ture developed along identical lines. A most con- 
venient, well-chosen collection of small reproductions is 
given by Winter, Hellenistische Skulptur, being Parts 
11-12 of Kunstgeschichte in Bildern (Kroner, Leipzig. 
Price, Marks 4). Among articles intended for special- 
ists, Krahmer’s Szi/phasen der Hellenistischen Plastik 
(Romische Mitteilungen, xXxxvVill-Ix, 1923-4, pp. 138- 
184), is of general import ; two articles by the author 
(fournal of Egyptian Archeology, x1, 1925, p. 179; 
Annual of the British School at Athens, xxvi, forth- 
coming), attack the theory of independent local schools 
in Alexandria and Rhodes. For archaistic art see Bulle, 
Archaisiriende Rundplastik; Ed, Schmidt, Archaistische 
Kunst in Griechenland und Rom. 

For the culture of the time see, J. B. Bury and others, 
The Hellenistic Age, historical essays largely based on 
recently discovered documents; Pfuhl, Malerei und 
Zeichnung der Griechen, deals fully with Hellenistic 
Painting. 

gI 


LAUER GREE KSC Usa Pa UaRe 


For relations with Rome and with foreign arts, refer- 
ence may be made to the following :— 

P. Ducati, Etruria Antica. 

E. Strong, La Scultura Romana (second English 
edition in the press). 

G. A. 5. Snijder, Romeinsche Kunstgeschiedenis (Tijd- 
schrift voor Geschiedenis, xl, 1925). 

H. C. Butler, American Expedition to Syria, 11; 
Princeton Expedition to Syria, u1. 

J. B. Chabot, Choix d’Inscriptions de Palmyre. 

O. M. Dalton, Treasure of the Oxus, second edition. 

Koldewey, The Excavations at Babylon. 

Sarre, Kunst des alten Persiens (also French edition). 

Rostovtzeft, Iranians and Greeks in South Russia. 

Vincent A. Smith, History of Fine Art in India and 
Ceylon. 

E, J. Rapson and others, Cambridge History of India, 
Voli: 

O. Sirén, Chinese Sculpture. 

Karl With, Buddhistische Plastik in “fapan. | 

Langdon Warner, ‘fapanese Sculpture of the Suiko 
Period. 

W. H. Schoff, The Periplus of the Erythraean Sea, 
translates the Greek account of the sailing-routes from 
Egypt to Zanzibar and India, with very elaborate and 
interesting notes on the places and articles of commerce 
mentioned. 


“by: 


APPENDIX 


The following list is arranged in groups which slightly overlap ; it 
makes no pretension of including all published Hellenistic sculptures 
but I believe it includes most of those which can be approximately dated 
in the present state of our knowledge. On the other hand, objects in 
private collections, or in Spain, Russia and North Africa, are often 
omitted because I have not seen the originals ; the Alexandrine and 
Late Republican periods are treated in less detail because of the familiar- 
ity of the material; reliefs of no artistic merit are excluded, and I have 
reserved sculptures of children for a forthcoming article (B.S.4., xxvii.). 

‘The abbreviations are, in general, those employed by the ‘fourn. of 
Hellenic Studies, but : 

Greek names are transliterated into Roman characters; Bulle refers 
to Bulle, Der schéne Mensch, 2nd edn. ; Helbig to Helbig, Fiihrer durch 
Sammlungen in Rom, 3rd edn. ; Hekler to Hekler, Greek and Roman 
Portraits (Bildniskunst); W. to Winter, Kunstgeschichte in Bildern, 
parts 11-12, Hellenistische Skulptur. ‘Vhe National Museum, Athens, 
is quoted as Athens ; the Metropolitan Museum, New York, as Metr. 
Mus. ; the Ny Carlsberg Glyptotek, Copenhagen, as Ny C.G.; the 
Rhode Island School of Design, Providence, as Providence. Museum 
numbers after the name of the place (thus Naples, 819) have reference 
to the latest catalogue or guide : this in the case of Athens is the catalogue 
by Kavvadias ; of Bologna, the Guida by Ducati; of Munich, the 
Fithrer by Wolters ; of Naples, the Guida by Ruesch ; of the Ny C.G. 
the catalogue by Jacobsen with supplements (T7//aeg) by Poulsen in 1914 
and 1925, and plates (Bél/edtavler) with one Tillaeg. 

The numbers of plates are given either in Roman or in Arabic numerals 
in accordance with the method adopted by the book quoted. 


THE BEGINNING OF THE HELLENISTIC AGE, 
CIRCA 334. 


Statues of 340 from the Theatre at Athens: Aeschylus (Ny C.G., 
421, Billedt. xxx, and Tillaeg, 1914, p. 151) 3 Euripides (Hekler, 89 ; 


ze 


LATER GREER SC UiL Piotr URE 


Ny. C.G., 414b, Billedt. xxrx ; Poulsen on the types, Ti//aeg, 1925, 
414a) ; Sophocles (Hekler, 52, 54; Studniczka, 7.H.S., xii, 1923, 
p- 57, and next vol., p. 281). 

Archidamus of Sparta, Naples (Hekler, 11; Delbriick, Portraits, 
pl. 18), probably represents the third king of this name, 361-338. 

Aristotle, 384-322 (zbid., pl. 19 ; Hekler, 87-88). 

Alexander Azara, Louvre (thid., 62b ; W. 334.1, 2): head in Acro- 
polis Mus., pl. rob (Hekler, 63): Rondanini statue, Munich (Hekler, 
61b; Schreiber, Bildn. Alex., p. 272, interprets as Antiochus Grypus ; 
W. 335-3), a poor reproduction of an old type: Alexander wearing 
zegis, Louvre marble and Brit. Mus. bronze (Zon. Piot, xx1, 1913-14, 
p- 59, pls 1v, v); bronze statuette, Edm. de Rothschild Coll. (Rev. 
Arch.,* Vv, 1905, I, p. 32, pls. 1, 11): statue from Magnesia ad Sipylum, 
found near the signature of Menas the Pergamene, Constantinople, 
536 (Hekler, 64 ; Bernouilli, Darst. Alex., figs. 12-14; W. 335.6), 
face of Lysippic type, the workmanship second century like the inscrip- 
tion ; the gold medallions of Abusir are condemned as forgeries by 
Svoronos (fourn. Inter. Numis., X, 1917, p. 369, pls. x-x1v) ; Tarsus 
medallions (zdid., pl. vit). 

Statue of Nicocleia, from Cnidus, Brit. Mus. (Cat., 11, 1301). 

Artemisium of Ephesus, drums in Brit. Mus. (Br. Br., 52, 173). 
According to an anecdote of Alexander, the temple was incomplete in 
334, but Pliny remarks that the cypress doors were 400 years old, and it 
was therefore finished soon after: Lethaby (Greek Buildings in Brit. 
Mus., p. 33) says the Priene temple of 345-344 copies the order of the 
Artemisium, which was, therefore, standing to its full height. 

Frieze of Lysicrates Monument of 334 (Br. Br., 488 ; 4.7.4.,! Vint, 
1893, p. 42, pls. 11, 11). 

Statuette of boxer, pl. 5, Metr. Mus. (Bul/., January, 1921, p. 11, 
fig. 4; Br. Br., text to 527, figs. 1, 2). 

Head from Chios, pl. 6, Boston, 29 (Marshall, Fahrb., xxiv, 1909, 
P 73)- 

Small head of a girl, said to be from Greece, Metr. Mus. (Bull., Feb., 


1916, p. 41, fig. 33 Chase, Sculpture in America, fig. 145), resembles 


the Chios head but may be a few decades later. 
Head of a goddess, Boston (Caskey, 4.7.4.,? xx, 1916, p. 383, pls. 


94 


fey 12) 2) AO, WE TOY DL 94 


XVI-I1I, compares Chios head and ascribes to Praxitelean school of after 
350). 

Female bust in Goldman Coll. (Metr. Mus., Bull., Aug., 1920, 
p. 177, fig. 1; Art in America, 1917, p. 130), looks from the photo- 
graphs as though it might be similar to Chios head. 

Head from Cyzicus, pl. 4b, Dresden (Br. Br., 390; Rev. Arch.,§ 
XXV, 1894, 1, pls. xvi1-vu11). 

Aphrodite, pl. 7, Capitoline (Cat., p. 182, pl. 45); heads in 
Dresden, 239 ; Boston, 79, 80 ; Munich, 479 (Bulle, ill. on p. 342 3; 
Sieveking, Miinchn. Fahrb, 111, 1918, p. 1, attributes the original to 
Leochares). 

Head of woman, pl. 8, Fogg Mus. (Delbriick, Portr., pl. xxiv, 
fig. 12 ; Exhibition of Greek Art, Burlington Club, pls. xxviu1-vul a). 

Female statue, pl. 9a, Metr. Mus. (Bu//., May, 1906). 

Nereid, Ostia (4usonia, vill, 1913, p. 191, figs. 1, 23 Boll. d’Arte,? 
Il, 1922-23, p. 320, fig. 13), cf. the Maenad of Scopas, pl. gb, (Stud- 
niczka, Artemis und Iphigenie, p. 103, figs, 82, 83). 

Artemis and Iphigenia, Ny C.G. (Studniczka, Art. u. Iph., dates 
340-330). 

Head of a boy, pl. 10a, Metr. Mus.: bought in Rome, accession 
ROL .2 32.5. 

Lysippus: the Agias at Delphi is of 338-4, is so like other statues 
of the same dedication that the Lysippic original cannot have been 
followed very closely (W. 331.3) ; Jason, pl. 11a (Arndt, Glypt. Ny C., 
pls. 128-9, and text figs.; W. 332.1); Apoxyomenus (W. 331.1 
and 2); Eros drawing a bow (7.H.S., XL, 1921, p. 242 3 W. 332.2). 

Praying boy, Berlin, 2 (Br. Br., 283 ; W. 340.3). 

Resting Hermes, Naples, 841 (Bulle, 166, 214; Lippold, Kopzen, 
p- 129 ; W. 333.1), copy contemporary with the gem by Dioscurides. 

Head of Dioscurus, Houghton Hall (Poulsen, Portraits in English 
Colls., p. 12, fig. 9), Antonine copy of Alexandrine type. 

Torso of Dionysus, Providence (4.7.4.,? XXVI, 1922, p. 488, fig. 2 5 
Chase, Sculp. in Amer., fig. 91) ; post-Praxitelean. 

Dancing girls from the Silphium Column, Delphi (Keramopoullos, 
Fourn. Intern. Numis., X, 1907, p. 295, pl. XV, gives reasons for supposing 
it to be a dedication by the Ampeliots of Cyrenaica ; Bulle, 140; Rev. 


95 


LIA ST LE RIG) REE Eke Ss) GC URLs Palaver s 


Arch.,® Vv, 1917, pls. tv, Vv); a first century dedication from Roman 
Africa is politically improbable, so the hypothesis of late date may 
be abandoned, and the obvious points of resemblance to Praxiteles’ 
Aphrodite, Mausoleum frieze, egea pediments and Amazonomachia 
sarcophagus date it early in the second half of the fourth century. 

Head of Apollo, Delphi (Fouilles de Delphes, 1v, pl. txxtv), con- 
temporary with the above. 

Head of goddess from Rhodes, Warocqué Coll., 10; Cumont 
suggests it is an original of the time of Alexander. 

Amazonomachia sarcophagus, Vienna (Br. Br., 493 ; Robert, Sark.- 
reliefs, 1, p. 78, pl. xxvir; Altmann, Archit. u. Ornam. d. ant. Sark., 
figs. 4, 4a 5 Schrader, Phidias, figs. 80, 81) ; style comes in the direct 
line of descent from the Mausoleum frieze, and it belongs to the same 
generation, for the Amazons wear the girdles low ; probably from 
Cyprus and ordered for a Phoenician like the Alexander sarcophagus. 

Relief of lion-hunt, from Messene, Louvre (Fahrb., 111, 1888, p. 189, 
pl. vir; W. 334.8). 

Relief of Artemis Bendis and a hero with votaries, of 329, Ny C.G. 
(231, Billedt. xvur ; Arndt, Glypt, pl. 88). 

Relief of 330-29, Athens (Eimz., 1474). 

Stela with lecythus and two dancing youths on the neck, Pirzeus 
(Conze, 1354.3 Snijder, Rev. 4rch.,> xx, 1924. 145 Daeayan ee 
inscription of late fourth century, figures interesting as prototypes of 
Neo-Attic types. : 

Caryatid, from ‘Tralles, pl. 70, Constantinople (Ed. Schmidt, 
Archaist. Kunst, p. 65). 


LAST QUARTER OF THE FOURTH CENTURY: 


Statue of Aeschines, 389-314, Naples, 1139 (Hekler, 53, 55); head 
in Ny C.G., 437, Billedt., xxxt1. 

Head identified as Demetrius Poliorcetes, active 315-283, Naples, 
1146 (Hekler, 72b). Fora possible later portrait of Demetrius see p. 99. 

Helmeted head in Naples, 1153 (Hekler, 71a ; W. 338.9) has been 
identified (Arch. Anz., 1894, p. 17) with a head from the Alexander 
sarcophagus ; this is accepted by Studniczka (Fahrb., 1x, 1894, p. 243) 
and by Willrich (Hermes, xxx1v, 1899, p. 236), who identifies as Craterus. 


96 


Asbo Ne DETsx: 


“ Aristippus ” (Esdaile, 7.H.8., xxxiv, 1914, p. 47, pls. m-vir; 
Lippold, Rém. Mitt., xxx, 1918, p. 18, fancies Zeno the Stoic, for 
which there is no evidence). 

Cast of male portrait head, Thorvaldsen Mus., Copenhagen (Einz., 


1484-5). 

Alexander sarcophagus, Constantinople (Cat., 1, pp. 28, 196; 
W. 336-7). 

Nike of Samothrace (Lawrence, .H.8., xxv1 forthcoming ; 
Viena 4 221502). 


““ Eubouleus,” Athens (Br. Br., 74; Ant. Denkm., 1, 34). 

Niobid group (Studniczka, rt. u. Iph., p. 84). 

Head of Ariadne, from South slope of Acropolis, pl. roc, Athens 
(tbid., p. 60); a Roman head at Split seems to resemble it (Hekler, ‘Fah- 
resh., XI, 1908, p. 115); a head in Cherchel (Cat., pl. v1.3), perhaps 
copies a work of same school. 

Female head, Athens (Ezmz., 652-3). 

** Tlioneus,” Munich, 270 (Bulle, 183 ; Br. Br., 432) ; a poor copy, 
to be classed with the Niobids. Cf. a crouching Ganymede, Nimes 
(ieevuearen.,” XLI, 1902, 11, pl. 1). 

Boy from Subiaco, pl. 14, Terme (Lippold, Kopzen., p. 101 ; Stud- 
micrkay art. u. Iph., p. 75, no. 6). 

Bronze wrestlers, Naples, 861-2 (Bulle, 91). Cf. heads with the 
supposed Demetrius Poliorcetes, Naples, 1146. 

Head from Ialysus, Metr. Mus. (Handbook, fig. 140; B.S.A., xxv1, 
p. 67, pl. vrr.1). 

Satyr on Dolphin, Villa Borghese (Helbig, 1560; Eznz., 2761-2 ; 
Amelung, Strena Helbigiana, p. 1, fig. 1, considers the head to be of 
early Hellenistic type and the body to be contemporary because of the 
contrapposto). 

Crouching boy, from Cythera wreck, pl. 15, Athens (Studniczka, 
remeten. 1021, p. 334, figs. 13, 15 ; W. 368.8). 

Large statuette, pl. 11b, Providence (Br. Br., 650). 

Satyr on tiptoe, found near Lamia, Athens (Eznmz., 641-2 5 Bulle, 78). 

“* Ariadne,” Uffizi (Amelung, Fihrer 33, fig. 6). Cf. Niobe and 
daughters. 

Aphrodite on bird, Boston, 36 (Br. Br., 577); Furtwangler noted 


c 97 


LATER GREE KX 3S CUUL PeTiveRsE 


that the head resembled the Themis of Chaerestratus ; but the drapery 
has slightly older treatment, comparable to that of an Attic votive relief 
of ¢. 325 (Einz., 1231), and a certain similarity to late vases may also be 
traced in the drapery of bust and shoulders and general scheme. 

A Hygieia type (¢.g., Not. Scavi, 1914, p. 320; Bull. Comm., x.u, 
1914, pls. 1, 11) can be approximately dated by the above-mentioned relief. 

Selene, Vatican (Cat. 1, Braccio Nuovo, 50, pl. 9), cf. Niobe and 
daughters. 

Female torso, Budapest (Br. Br., 640, Hekler compares with the 
Niobids, cf. postscript by Poulsen). 

;, Fragment of relief of Pan, Small Acrop. Mus., 180 (7.H.S., xxx, 

1910, p. 264), lettering of the end of the fourth century. 

Relief of Euphron, 323-2 (Studniczka, Art. u. Iph., p. 92, fig. 74). 


CIRCA 300. 


Menander, 342-291, pl. 18b (Hekler, 105-7 ; Delbriick, Portr., 
pl. 20; Hinz., 610, 611, in Corfu ; Philadelphia Mus. Fourn., v, June, 
1914, p. 122, fig. 68 ; Studniczka, Menander ; Poulsen, Ikon. Misc., 
p. 25, pl. 13, agrees in considering it to be Menander, Lippold believes 
it to be Virgil !; Ohman, Portrattet i den Gr. Plastiken, p. 136, remarks 
on the likeness to Alexanders and thus dates stylistically to the time 
of Lysimachus). 

Theophrastus, 372-287 (Hekler, 96a), shows the transmission from 
Aristotle to Demosthenes heads. 

Seleucus I, King 306-281, may be represented in a bronze bust from 
Herculaneum, Naples (Delbriick, Portr., p. 22, figs. 11-15; F.H.S., 
XXV, 1905, p. 93, pl. vir.2; W. 338.7). 

A head from Pergamon (//t. v. Perg., V1.1, p. 150) and the so-called 
Ptolemy I (Ny C.G., Tillaeg 1925, 453a) are identified by Poulsen as 
Lysimachus of Thrace ; which holds good stylistically ; cf. Lippold, 
Gemmen, pl. 70.1 5 but these heads do not portray the same man as the 
coin which Imhoof-Blumer believed to represent Lysimachus (Portrdat- 
hopfe auf Miinzen, p. 17, pl. 1.143 Képp, 52 Winck. Berlin, 1892, 
p. 12, considered it an Alexander ; W. 338.12). I am disposed to identify 
the person on the coin with a diademed head from Pergamon in Berlin 


(Alt. v. Perg., vil, no. 136, pl. xxxiv; Klein, Prax., p. 410, figs. 85, 
98 


+ ee 


Ay Pere hens Datex 


86). “This seems to be an idealistic portrait rather than the head of a 
god: Attalus I was the first of the Pergamon dynasty to take the title 
of king, and, as this diademed head is too early to represent him or his 
successors, Lysimachus is the person historically indicated as most prob- 
able. It is a fairly young face and the diadem was not in marble, and thus 
may have been a later addition, hence the head may antedate 306, the 
upper limit of Lysimachus’ reign ; in any case it could be no later than 
283, the year of Philetaerus’ rebellion against him. 

The above-mentioned coin of Lysimachus has also been compared 
with a small head said to have come from Athens, Munich, 480 (Sieve- 
king, Miinchn. ‘fahrb., x, 1916-7, p. 179, fig. 5, two pls.), and one in 
the Vatican (Cat., Sala det Busti, 338, pl. 72 ; Sieveking, op cit., figs. 
1,6; W. 338.11) of which a copy exists in Houghton Hall (Poulsen, 
Portr. in Eng. Colls., p. 39, pl. 11). The features of these heads are 
more Alexandroid than the Berlin head, and they have even been identified 
as Alexander himself, though Wace has suggested Demetrius Poliorcetes, 
337-283, for the Vatican copy. 

Head of youth, Brit. Mus. (Cat., m1, 1783; B.S.4., xxv, p. 68, 
pl. vurr.2), cf. above group. 

Bronze statuette known as Alexander on horseback, Naples (Br. Br., 
355b3; Bernouilli, Darst. Alex., p. 98, figs. 29, 30 ; Pottier, AZélanges 
Nicole, p. 427; W. 335.1), does not represent Alexander but rather 
one of his immediate successors : the style is slightly more advanced 
than that of the Alexander sarcophagus. 

Male portrait head, Turin (7.H.S., xxv1, 1916, p. 239, pl. 16), remini- 
scent of early Seleucid coins. 

Head of Ptolemy I, Thera (Thera, 1, p. 245, fig., pl. xxz), in bad 
condition. 

Inscribed bust of Olympiodorus, Oslo (Poulsen, Coll. Ustinow, p. 21, 
figs. 23-25; 4.7.4.,2 xxv, 1921, p. 163, fig. 2) ; he was a general of 
the beginning of the third century and the head has been compared with 
the portraits of both Demosthenes and Aristotle. 

Head of a foreigner (?), Terme (Poulsen, De/phi, p. 323, fig. 163). 

Bearded head, Delphi (Fowslles de Delphes, 1v, pl. txxtr; Poulsen, 
Delphi, p. 320, figs. 158-9). 

So-called Apollonius of Tyana; Poulsen (Portraits in Eng. Colls., 


99 


LeACT ERG RCE E ees Cour lara eka 


p. 45, pl. 18) agrees with Lippold in calling it Homer and places it at the 
beginning of the third century. 

Bronze bust called Ptolemy or Lysimachus, Naples, 888 (Hekler, 69 ; 
W. 338.13). 

Small head of a bearded man, pl. 18a, Metr. Mus. (Acc. no. 08.258.40) 
bought in Rome. 

Statue of Diogenes (?), died 323, Villa Albani (Hekler, 113 ; Helbig,? 
1856, accepts as a posthumous type that originated under Alexander’s 
immediate successors, but Poulsen, Portr. in Eng. Colls., pl. 16, rejects 
the identification as Diogenes) ; Aix copy of the head, Einz., 1407-8. 
Cf. a terracotta medallion from Corinth in Berlin (Winnefeld, Hell. 
Silberreliefs, 68, Winck. Berlin, 1908, pl. 111.3) which may represent 
the same person. 

Head of Alexander, from Alexandria, Brit. Mus. (Cat. m1, 1857, 
pl. x.2; Bulle, 218), comes nearest to the coins of Lysimachus (Hill, 
Hundred Masterpieces of Sculp., p. 148). 

Head of Alexander (as Apollo ?), Rossie Priory (Poulsen, Portraits 
in Eng. Colls., p. 38, pl. 10). 

Head of Alexander, from Cos, Constantinople, 539, second century 
copy. 

Head of Alexander as Helios, Capitoline (Helbig, Aon. Ant., v1, 
1896, p. 87, pl. 11); copy from Ptolemais in private collection (zbid., 
pl. 1; accepted as genuine by Schreiber, Bi/dn. Alex., p. 74) 5 copy of 
doubtful antiquity, Holkham Hall (cdzd., fig. 10) ; later variation of the 
type, Prado (Bernouilli, Darst. Alex., p. 84, fig. 26 ; Arndt-Br., 483-4). 
The original was probably early third century. 

Bust of Alexander, from Egypt (Sale Cat. of Lambros and Dattari 
Colls., No. 317, pl. xxxv), early third century appears to be the most 
likely date. . 

‘“Tnopus”’ bust, from Delos, Louvre (Bernouilli, Darst. Alex., 
fig. 27 5 Schreiber, Bildn. Alex., p. 81, says a colossal copy of the head 
exists at Avignon), a late second century copy. 

Head of Heracles, from Egypt, Louvre (Waldstein, Gr. Sculp. and 
Modern Art, pl. xxxix ; Lawrence, Fourn. Egypt. Arch., x1, 1925, 
p. 183, pl. xx1). 

Bearded head of a god, pl. 17a, Alexandria (zbid., p. 182, pl. xrx, 3). 


IOO 


ASE Pre Nm pre 


Head of Poseidon, from Chios, Vienna (Ubersicht d. Kunsthist. 
Samml. 192.4, U1, X1, 118) of similar tendencies to the above heads from 
Egypt. 

Herm of Heracles (Bull. Comm., 1, 1873, p. 97, pl. 13 Conservatori 
Cat., Giardino, 99, many copies from the Peloponnese). 

sixiton, Berlin, 286 (Wace, B.S.4., 1x, 1902-3, p. 222, fig. 2): 
date uncertain, but later than Eutychides and considerably earlier than 
the Gigantomachy. 

Aphrodite and Triton, Dresden (zbid., fig. 1; Dickins, Hell. Sculp., 
fig. 25 ; Lawrence, fourn. Egypt. Arch., x1, 1925, p. 183, pl. xx). 

Odysseus, Venice (Furtwangler—Urlichs, Denkm.,° p. 142, pl. 43), 
Vatican (Cat. 1, Chiar. 704, pl. 85 ; Dickins, Hell. Sculp., fig. 35). 

Bronze head of a boxer, from Olympia, pl. 16b, Athens (Bulle, 235, 
fig. 154; Hekler, 36; Br. Br.. 247; Furtwangler, Olympia, Bronzen, 
p- 10, identified as an original by Lysippus ; Schrader, Marmorkopfe 
eines Negers, 60, Winck. Berlin, 1900, p. 17, two figs., dates to 400 !) : 
the closest parallel I know on Attic stelz is a wild-haired old man on 
Athens, 731. 

Silenus carrying the infant Dionysus, pl. 19, Munich, 238 ; Louvre 
(Fr.-W., 1430; Br. Br., 64); Vatican (Cat., 1, 11, pl. 2). 

Bronze Silenus as support of candelabrum, Brit. Mus., 284 ; Naples, 
816 (Overbeck and Mau, Pompeji, fig. 289). Cf. head of boxer from 
Olympia. 

* Satyr with the boy Dionysus sitting on his shoulder, Minto (4us., 
VIII, 1913, p. 90) points out that the early Hellenistic character is clearly 
revealed by the Florence copy (pl. 1v, head fig. 7; 4.7..,? xx, 1916, 
p. 225, fig. 2); Bologna copy (Minto, op. cit., fig. 4; Ducati, Rev. 
Mieneee Vi, 1911-2, p. 143, fig. 8); Prado (Hinz. 1570-1) ; 
Vatican (Fahresh., x1x-xx, 1919, p. 259, fig. 177). 

Herm of Pan, from Pergamon, Berlin (Kekulé v. Stradonitz, Hand- 
buch,® p. 285, fig.), Minto compares with the above. 

Silver statuette of Pan, Metr. Mus. (Bul/., June, 1922, p. 135, 
fig. 3) 

Head of Pan, from a relief from Cyzicus, Constantinople (Cat., 11, 
571; B.C.H., xu, 1889, pl. 1x.2); the inscription may have been a 
decree of proxenia for a citizen of Panticapaeum but the features are not 


IOI 


LATER GREEK SCULPTURE 


so bestial as on the coins of that town. ‘The lettering would admit of a 
fourth century dating. 

Statue of Pan, pl. 20a, Dresden, 261. 

Group of Pan teaching a boy to play the pipes (Klein, Fahresh., x1x-xx, 
1919, p. 260, Vom ant. Rokoko, p. 60; Lippold, Kopten, p. 50) ; terra- 
cotta in Berlin (Priene, p. 346, fig. 407). “There is no authority for the 
old ascription to a certain Heliodorus of whom nothing is known : the 
original appears to be of third century date, perhaps somewhat late in 
the century, but I place it with the other Pans for convenience. 

Themis, by Chaerestratus, from Rhamnus, Athens, 231 (Br. Br., 
476; Ephem. Arch., 1891, pl. 43 Lippold, Miinchn. Fahrb., vit, 
1913, p. 244; Dickins, Hell. Sculp., fig. 40; W. 344.1). Epigraph- 
ically dated to the end of the fourth century or beginning of the third. 

Apollo and the Muses, on a basis from Mantinea, Athens (B.C.H., 
xu, 1888, pls. 1-1; Br. Br., 468 ; Fougéres, AZantinée, pls. 1-1v, in- 
cluding one pl. of heads from casts ; Svoronos, Nat.-MJus., pl. xxx). 
The old ascription to Praxiteles is disputed by Vollgraff, who produces 
external evidence suggesting a date of c. 300 instead of 370, and he at- 
tributes it to a homonymous grandson of the great Praxiteles (B.C.H., 
XXXII, 1908, p. 236 5 opposed by Ducati, Zon. Ant., xxt, 1912, p. 291 ; 
accepted on stylistic grounds by Sieveking and Buschor, Minch. Fahrb., 
VII, 1912, p. 125); Svoronos describes it as a composition not earlier 
than the middle of the third century incorporating Praxitelean and 
older types (‘Fourn. Intern. Num., v, 1902, pp. 169, 285). A relief 
with similar spacing, Small Acrop. Mus., 391, has a fourth century 
inscription. 

Female statue from the Louvre (Collignon, Stat. fun., p. 158, fig. 90), 
cf. Mantinea basis. 

Female statues known as “ Euterpe,” Vatican (Helbig,* 260) and 
Vicenza (Arch. Zeit., 1867, p. 101), probably not a muse, cf. Mantinea 
basis. 

Tyche of Antioch by Eutychides, whose floruzt given as 296 by Pliny 
probably refers to this, his most famous work, especially as the city of 
Antioch was founded in 300. The head of the Vatican copy does not 
belong (Br. Br., 154; Helbig,® 362; Forster, Fahrb., xu, 1897, 
p. 1473 W. 340.1): little copies in metal are complete (Br. Br., text 


102 


q 
! 
: 


Al Pepe Ba N @DE TSX 


to 610, figs. 1,3; Metr. Mus., Bronzes No. 259; F.H.S., 1x, 1888, 
pl. v), they do not make it possible to dogmatise about the original head 
but suggest that a Cybele in Copenhagen comes near to it (Ny C.G., 
334, Billedt. xxi ; Arndt, Glypt., pl. 135). The statuettes give reason 
for considering the Vatican copy less trustworthy than the one in Buda- 
pest (Br. Br., 610) in which the drapery over the legs is streaked to 
represent a crinkly material ; a headless alabaster copy in Copenhagen, 
Thorvaldsen Mus. (Eimz., 1480.1). The turreted crown is derived 
from that worn by a Mesopotamian astral goddess, Sidney Smith, 
Babylonian Historical Texts, p. 66; Z. fiir altestamentl. Wissenschaft, 
vee exrivero20.p, 74.5 cf. P.E.F., O.8., April, 19215 p. 82. 

Torso of a river-god, Vatican, (Cat. 1, Gall. Lapidaria 101, pl. 27 ; 
Helbig, 54; Rém. Mitt., vu, 1893, pls. v-v1 ; W. 340.2) 3 conjec- 
tured to be the Eurotas of Eutychides, which suits the style, but Lippold 
raises a point against the identification (Rém. Mitt., xxxtt1, 1918, p. 96). 

Head of goddess, from the Serapeum, pl. 17b, Alexandria (Fourn. 
Egypt. Arch., X1, 1925, p. 185, pl. xx1). 

Female statuette from Thasos, Budapest (‘Fahresh., x1, 1908, p. 156, 
figs, 49, 50); Hekler (4z Antik Plasztikai, Rm. 1, 13) speaks of 
Chaerestratus and produces the Brit. Mus. statuette (Cat., m1, 2091, 
pl. xx11) as a second or first century development of such types, another 
example of which is the so-called nymph in Syracuse (Plasztikai, fig. 2 ; 
Mauceri. Italia Artistica, Siracusa, p. 98, fig.), in reality a draped Aphro- 
dite, for the type occurs as such on Roman sarcophagi of the second 
century, A.D. For other copies of the Brit. Mus. statuettes see Ny. C.G. 
Cat., Tillaeg, 1925, p. 52, No. 312a. Ippel, Bronzefund von Galjab, 
p. 30, has a study of the type. 

Seated girl, pl. 23, Conservatori (Bulle, 171; Br. Br., text to 601, fig. 6; 
W. 371.4), bronze copy in Louvre, Br. Br., fig. 7; copy on a gem 
(Rém. Mitt., xxxin, 1918, p. 68, fig. 2), from an original by 
Eutychides as is almost universally admitted, the only considerable 
voice against the theory is Klein’s (Vom ant. Rokoko, p. 99, pl. 1). 

Sleeping Ariadne, Vatican (Br. Br., 167), Prado (Eimz., 1552), Flor- 
ence Mus. (Milani, R. Mus. Arch., pl. crit) and Pal. Pitti (Br. Br., 
168) ; motive occurs on Magnesia frieze (Watzinger, Magnesza, pl. vit), 
on Vatican relief (Fahrb., xxv, 1910, p. 141, fig. 6), Megarian bowls 


103 


LeA ST ER Ge Reb br ha ss Caton a ee Ub; 


(B.C.H., Xxxvul, 1913, p. 424, fig. 6, No. 708, p. 434 3 Courby, 
Vases a reliefs, p. 463), on arm of a couch such as was found in the Cythera 
(Cerigotto) wreck and is typical of the early Empire (Neugebauer, 
Meisterwerke in Berlin, Gr. Bronzen, pl. 32). 

Girl from Anzio, Terme (Helbig,? 1352; Br. Br., 583-4; Bulle, 
136-261; Bull. Comm., xxxvii, 1909, pls. viti-x1; ‘Fourn. Intern. Num., 
XII, 1909, pls. m1-viir; W. 358.3-5) ; Furtwangler (Miinchn. Fahrb., 
II, 1917, p. 1) considered it a copy from the Lysippic school of which 
Eutychides was a member, and in fact it wears streaky drapery of the 
same kind as the Antioch ; analogous poses are found in Thessalian 
coins of the early third century (Rém. Mitt., xxix, 1914, p. 12) and 
statuettes have been cited as similar (zdzd., pl. 1, from the Ilissus ; Bull. 
Comm., XXXVII, 1909, p. 208, figs. 11, 12, from Rome). ‘There is no 
justification for treating the Terme statue as an original, for it is mani- 
festly of bronze technique and the work is mechanical, and a smaller 
replica has been found in Rome (Boll. d’ Arte, x11, 1919, p. 102). 

Female statue from Macedonia, Brit. Mus. (B.S.4., xx11, 1918-19, 
p. 24, pl. x.3), another example of streaky drapery, but in a marble 
original, and therefore to be contrasted with the bronze technique of 
the Anzio Girl. 

Similar drapery is found in numerous statues of children, e.g., those 
from the Ilissus (Ephem. Arch., 1917, pls. 1a and 2) and a girl from 
Tanagra, Berlin, 505 (Furtwangler, Samml. Sabouroff 1, pl. xxxv). 

Votive relief, Louvre (Heuzey, Mission en Macedoine, pl. 25 ; Arvan- 
itopoullos, Ephem. Arch., 1910, p. 378) 3 votive relief, Volo (cbid., 
fig. 9) ; both said to be dated by the inscriptions to the first decades of 
the third century. 

Funerary relief from near Eleusis, Athens ; Foucart (B.C.H., tv, 
1880, p. 63, pl. 1) dates the inscription to the beginning of the third 
century. Unclassic grouping of the figures. 

Monument of Carystius at Delos (B.C.H., xxx1, 1917, p. 504, figs. 
18-20, pl. x11), a pretentious thing of merely decorative workmanship, 
has a seated lion on top and reliefs round the base, of a phallus-headed 
cock in front and a Bacchic scene on either side ; it bears an inscription 
more likely to belong to the first decades of the third century than to 
the end of the fourth. 


104 


AS PSP rT Ee Neb als x 


Reliefs of nymphs dancing in the caves of Pan seem to begin towards 
the end of the fourth century, but most of them belong to the early 
third century (Wace, B.S.R., v, 1910, p. 174.3 Ephem. Arch., 1905, 
P- 99; Svoronos, Nat. Mus., pls. -xxit-1v, xcvi-u, xcix; 4.F.4.,? 
VII, 1903, p. 301, pls. 111-1x, from the cave at Vari 3 Arch.-epig. Mitth. 
aus Ost., 1, 1877, pl. 1, from Gallipoli. 

Basis with athletes in relief, found in the sea off Euboea, Carystus 
(Hekler, Fahrb., xxx1, 1916, p. 98, fig. 2, remarks on its post-Lysippic 
character). 

Similar basis with inscription of transition from fourth to third 
century, Small Acrop, Mus., 401 and 4o1!a. 

Relief of athlete, Munich (Wolters, Arch. Anz., 1913, p. 12, fig. 1, 


ascribes to end of fourth century). 


FIRST HALF OF THE THIRD CENTURY. 


Poseidippus, Vatican (Br. Br., 494 ; Hekler, 110a, 11 1a). 

Demosthenes head, pl. 20b, Oxford (Casson, F.H.S., XLVI, 1926, p. 72, 
Dlev)3) others, Helbig.* 22; Hekler, 56-7, fig. 3; on the statue’s 
stylistic novelty, Krahmer, Rém. Mitt. xxxvui-Ix, 1923-4, pp. 139, 154. 

Epicurus, 342-70 (Hekler, 100, 1o1a, fig. 11; Delbriick, Portr., 
pl. 25; Poulsen, Portr. in Eng. Colls., p. 43, pl. 16). 

Hermarchus, colleague of Epicurus (Hekler, fig. 14; Delbriick, 
feet te;) Foulsen, B.C.H., xtvii1, 1924, p. 377) ; Hekler, 
Az Magyar Muzeum, Evkinyvet, 1, 1919-20, p. 1, figs. 1, 3, head in 
Budapest ; seated figure in Florence (zid., fig. 5; Milani, R. Mus. 
Arch., p. 318, pl. civ1, there called Sophocles). 

Metrodorus, colleague of Epicurus (Hekler, fig. 12; Poulsen, 
Ikon. Misc., p. 73, pls. 31-35 ; Hekler, 102, labels the Athens head 
““ Hermarchus,”’ the fact is that the two are almost indistinguishable ; 
for latest references to both, see Ny C.G., Tillaeg, 1925, 4174, 416a. 

Zeno the Stoic, c. 270 (Hekler, 104, fig. 13 3 Poulsen, Ikon. Misc., 
p. 153 Lippold, Rim. Mitt., xxx, 1918, p. 18, endeavoured to revive 
the identification as Zeno the Epicurean). 

Statue of Nikeso, from Priene, Berlin (Priene, figs. 118, 120 3 
Inschr. v. P., No. 1733; Krahmer, Rém. Mitt., xxxvu-Ix, 1923-4, 
p. 155, places with the Demosthenes ; W. 334.3). 


105 


LATER GREE KS €C Ui Pe TU RoE 


Relief with head of old man, Barracco Mus. (Hekler, 49a ; Helbig,’ 
1138 ; W. 334.4), cf. Demosthenes, but may be slightly earlier. 

Bronze statuette resembling Hermarchus, Metr. Mus. (Cat. Bronzes, 
120; Delbriick, Portr., fig. 13, pl. 26). 

Seated poet, Ny C.G. (430, Billedt. xxx1; Br. Br. 477; Hekler, 
118b, 120); headin Louvre (Poulsen, Ikon. Misc., pl. 24). “The date can 
be roughly ascertained by comparison with the Demosthenes, the Silenus 
holding the infant Dionysus (cf. especially eyes and stylised hair) and the 
Hermarchus bronze statuette (cf. especially the chest, shoulders and 
face) ; it is usually placed earlier than the Demosthenes but may not be so. 

Statuettes of poet, from Egypt (Arch. Anz., 1922, p. 85, No. 37, in 
Berlin), cf. the above. 

Bronze head, Naples, 881 (Hekler, 94b; W. 345.2); Winter 
(Tod. d. Archimedes, 82, Winck, Berlin, 1924, p. 11, fig. 4) identifies as 
Archimedes on the ground of a certain resemblance toa mosaic: I should 
be inclined, however, to put it before rather than after the Demosthenes, 
and Archimedes was not killed till 212. 

Bronze head, Naples, 880 (Hekler, 92b), perhaps later than Demos- 
thenes. 

Bearded head, Prado (Ezmz., 1653, compares Demosthenes). 

Head of a poet, Ny C.G., 425, Billedt., xxx1 (Einz., 157-8 ; Arndt 
Br., 915-6 3 Poulsen, Col/. Ustinow, p. 23, fig. 26, agrees with Arndt 
in placing with Demosthenes and identifies with the comic poet Philip- 
pides whose statue was set up in the Theatre at Athens in 287-6). 

Portraits of Ptolemy II, from Egypt (Fourn. Egypt. Arch., x1, 1925, 
p. 185). 

Supposed head of Pyrrhus, Ny C.G., 449, Billedt.. xxxu; style 
suits the identification. 

Pedimental statues from Samothrace, Vienna (Conze and Benndorf, 
Samot., 1, pls. xxx-xt1 ; W. 342.4). 

Colossal female torso, Boston, 51, cf. Samot., 1, pl. x11. 

Artemis of Versailles, Louvre (Br. Br., 420; Studniczka, rt. u. 
Iph., p. 79, considers a later version of an original of the time of Lysippus), 
cf. Samot., 1, pls. XxXIX-XL. 

Dionysus, from choragic monument of Thrasyllus, Brit. Mus., 
4323 Reisch, 4th Mitt, xi1., 1888, p. 389, pl. vit, dates to the 


106 


Ae Pe be ieNe Delo xX 


reconstruction of 271, but the Cat. is in favour of 319, the date of the 
original building ; Br. Br., 119; W. 344.2. Should resemble Attic 
stelz if it belonged to 319, and I cannot see that it does. 

Serapis of Alexandria, copies in Alex. (von Bissing, 4th. Afitt., 
XXXI, 1906, p. 55, pls. v1, vir ; Amelung, 4us., 111, 1908, p. 121, fig. 20 3 
Breccia, Alex. ad. Aeg., p. 96): Clement of Alexandria (Overbeck, 
1325) records the introduction of the cult under Ptolemy II, 284-247, 
and he calls the artist “ Bryaxis, not the Athenian, but somebody else 
with the same name as the great Bryaxis.” I accept this statement as 
accurate, the artist presumably was the Bryaxis responsible for the Apollo 
at Daphne which cannot be earlier than 300, the year of the foundation 
of Antioch (Zielinsky, Szbylle, pp. 75, 90). Comparison with Thrasyl- 
lus’ Dionysus points to the contemporaneity of the Serapis. 

The Vatican group of Muses consists of seven figures (Helbig, 
264-270 ; W. 362.4, 5) and an Apollo, originally completed by a seated 
figure (Schreiber, Ludovisi Cat., 2; Alinari, photo. 1284) and the so- 
called Maenad (Einz., 395, 1993), the Dresden head of which 1s illus- 
trated, pl. gb (identified by Herrmann; Waldstein, Gr. Sculp. and 
Modern Art, pl. xxx) ; other heads from the group (Amelung, Basis 
d. Prax., figs. 11-17) ; the Prado group (Einz., 1556-68) dispensed 
with the standing figures and therefore duplicated two of the Vatican 
seated types and created two new ones. ‘The originals must have 
resembled Thrasyllus’ Dionysus, but the copies vary greatly in details. 
See in general Lippold, Kopzen, p. 169. 

Female statue, Conservatori (Helbig,? 928 ; Bull. Comm., 111, 1875, 
pl. 10), resembles Vatican Muses above the waist and the Myronic 
Athena below, is either Roman or from an unusually archaistic original 
of the time of the Muses. 

Aphrodite Kallipygos, Naples, 314 (Br. Br., 5785; Bulle, 162 ; 
Klein, Vom ant. Rokoko, p. 92; W. 381.6, 7); goes back to a small 
original which was probably of the school that produced the Vatican 
Muses. 

Two types called Niobids, Berlin, 584 and 585; Naples, 248 ; 
Louvre, Exped. de Morée, 111, 86.2, cf. the sketches of the Vatican 
Muses without the restorations (Rev. Arch.,4 x11, 1908.2, p. 359, pl. 
XVII). 


107 


Lo AcE ER GREEK SC DLP PaTaUeka kr 


So-called Nurse of the Niobids, Uffizi (Amelung, Fihrer, 173 ; 
Einz., 364-5), cf. Muses. 

Small Nike from Samothrace, Vienna (Conze and Benndorf, Samot, 
I, p. 27, pl. xivimr) ; if third century at all is early in the century, tall 
and thin like the Borghese Daphne (Br. Br., 260 ; Collignon, Sculp. 
grec. U, fig. 308). 

Dionysus (“ Ariadne”), Capitoline (Br. Br., 383; Cat., p. 344, 
10, pl. 86; W. 376.7): not far removed from the Muses. 

Medici Venus, Uffizi (Bulle 156 ; Br. Br., 374; Lowy, Gr. Plastik, 
pl. 110; Klein, Prax., fig. 41; W. 280.4).. The Vliasto alabaster 
copy and other heads (Mon. Prot, xx111, 1918-19, pls. v, vr; Milani, 
Strena Helligiana, p. 188); the Altoviti Venus belonging to J. D. 
Rockefeller is a forged copy (Art and Arch., v, 1917, 1, pp. 181, 299). 
Cf. the head with the Muses, especially in the Dresden copies. 

Heads from a battle-group (Bienkowski, Darst. Gall., figs. 34-8) 5 
Poulsen, Portr. in Eng. Colls., p. 40, pl. 12); the head in the Antiq., 
Rome, is the only one familiar to me and I believe it to be a copy from 
somewhat later than the Demosthenes. 

Bronze boxer, pl. 28, Terme (Hekler,85,86; Helbig,? 1350; W.339.1) 

Stela of horseman and his squire, from Abdera (Arch. Anz., 1918, 
p. 49, fig. 55), with third century lettering, a later version of a well- 
known fourth century type. 

Votive relief with head of Helicon from Thespiz, Athens (Jamot, 

B.C.H., xtv, 1890, p. 546, pls. rx, x, says the inscription cannot be later 
than the third century ; Robert, 4rch. Hermeneutik, p. 55, fig. 42) 5 
cf. the head of old man on Athens stela, 731. 

Stela of two youths in hunting dress, bought at Smyrna, Brit. Mus., 
inscribed in third century letters with the name Numenius, son of 
Seuthes, of Lysimachia, a town in the Thracian Chersonese, founded 


309-8 (B.C.H., xxi, 1889, p. 558, fig. 1). 


MIDDLE OF THE THIRD CENTURY. 


Portrait resembling coin-type of Aratus of Soli, who died ¢. 240 
(Hekler, 99 ; W. 344.10). 

Portrait identified as Philetaerus, reigned 283-263, Naples, 1151 
(Hekler, 70). 


108 


ApPeE  baNe Detox: 


Rock-cut medallion head of Artemidorus of Perga, Thera (Thera, 
III, p. 97, pl. 5), inscription of middle or late third century. 

Head identified as Pyrrhus, Naples (Hekler, 71b ; W. 339.2). 

Head in Terme (Helbig,? 1386; Wace, F.H.S., xxv, 1905, p. 94, 
no. 3, compares with the above). 

Diademed head, Naples (Hekler, 72a ; W. 338.2). 

Portrait head, pl. 24b, Leyden. 

Bronze head with corkscrew hair, Naples, 884 (Hekler, 74): the 
hair is greased after the African custom which may, however, have then 
prevailed among savages elsewhere, and it is not certain that an African 
chief is represented. 

“Arundel” bronze head of Sophocles (?), Brit. Mus. (Fahré., x1, 
1896, p. 172, pl. 1), a free copy, resembling Herculaneum copies, of an 
original to be placed between the Demosthenes and Chrysippus. 

Head of a Berber, from Cyrene, pl. 27, Brit. Mus. (Bronzes, 268 ; 
Hekler, 36); for photographs of Berbers see Maciver and Wilkin, 
Libyan Notes, pls. Xx-xxiv. 

Bearded head formerly in Catajo, now in Este Coll., Vienna (Hekler, 
76; Fahresh., xu, 1909, pl. vir; Poulsen, Delphi, figs. 161-2) ; 
seems to be later than the other portraits in this section and only slightly 
earlier than the Dying Gaul of the Capitol. 

Aphrodite at the Bath, by Doedalsas (Klein, Vom ant. Rokoko, p. 32, 
and, Prax., p. 270, note 3); bronze statuette, from Beirut, pl. 25a, 
(Syria, VI, 1925, p. 312, pls. XL-XL1). 

Seated Heracles, pls. 25b, 26, formerly in Valladolid, Metr. Mus. 
(Handbook, fig. 145) ; parallel to the above in the pose and the surface 
anatomy which is careful to the point of ugliness. 

Torsos of fighting men (Bienkowski, Darst. Gall., p. 16, nos. 6-8) ; 
I am only familiar with no. 7, which is in the same marble as the Perga- 
mene figures, but appears to be more primitive than any of them. 

Ludovisi group of Gaul killing his wife and himself (zdid., no. 3, 
figs. 6-11 and 155, pl. 1; Studniczka, Art. u. Iph., p. 62, accepts 
Kjellberg’s dating of c. 250; W. 348). 

Marsyas group. Lippold, Kopizen, p. 110, on the white and red 
types ; reply by Amelung in Conservatori Cat., p. 166; the so-called 
third type represented by the Zagreb statue (‘Fahresh., x, 1907, p. 319, 


109 


LATER GREEK SCULPTURE 


figs. 93, 94) and the Capitoline head (Cat., p. 88, Gal/., 6, pl. 26) re- 
sembles a Marsyas of the Porta Maggiore underground basilica (F.H.8., 
XLIV, 1924, p. QI, fig. 14), but may be merely an architectural figure of 
the early second century style. Copy of “white”? Marsyas, from 
Tarsus, pl. 29, Constantinople, 534; cf. W. 347.2 (Berlin); Knife- 
grinder, pl. 30a, Uffizi (Amelung, Fuhrer, 68 ; W. 347.4). 

Bloated and shaggy-bellied Silenus, Vatican (Cat., 1., Chiar., 544, pl. 
71). Other copies point rather to an early second century original. 

Head of Silenus, pl. 34a, Naples, 265. 

Satyr holding up bunch of grapes (Capitoline, Cat., p. 309, Fauno 1, 
pl. 77; Vatican Cat., 1, Gab. d. Maschere, 432, pl. 76); cf. the torso 
with Ludovisi Gaul. 

Group of satyr inviting a nymph to dance, pls. 30a, 31 (W. 368.5, 7). 
Latest treatment in text to Einmz., 2641-2; another copy of the satyr 
must now be added to the list, a bronze statuette from Constanza in 
Bucharest (Parvan, Incepturile Vietit Romane, p. 195, fig. 93). 

Bronze head of a satyr-boy, pl. 22b, Munich, 450 (Br. Br., 5b) ; 
the smoothness of the modelling and the treatment of the hair place it 
before the Pergamene sculptures, and it belongs at earliest to the time of 
the “‘ Pyrrhus,” Ny C.G., 4409. 

Satyr turning to look at his tail, copy with head in Florence, Mus. 
Arch. (Boll. d’ Arte, x1v, 1920, p. 47, fig. 8) ; large copy in black marble, 
Munich, 466, probably an enlargement and not to be taken as proof that 
the original was life-size. 

Bronze statuettes of dancing hermaphrodites, Epinal (Br. Br., text to 
578, figs. 4, 5 3; Neugebauer, Bronzestatuetten, pl. 45), Vienna (Arch. 
Anz., 1892, p. 51, fig.), Blanchet Coll. (Rev. Arch.,? xxvu1, 1896, 
I, p. 160, pl. rv) : perhaps derived from one original contemporary with 
the above satyr. 

Bronze statuette of Aphrodite, formerly in Pourtalés Coll., Brit. 
Mus. (Cat. 1084, pl. v), similar statuette in Dubois Coll. (Rev. Arch.,§ 
XXXV, 1899, 11, p. 369, pl. xx) ; cf. these generally with the above. 

Satyr struggling with a hermaphrodite (Arndt, Glypt. Ny C., pl. 139 
right, text illustrates Dresden and Antiquarium copies ; Lippold, Kopzen, 
XV, note 17 ; fresco in Naples, Roux, Herc, et Pompé, vim, pl. 17a) ; 
usually dated later on account of the loose composition (Krahmer, Rém. 


IIo 


Ae be EeN 2D eax 


Mitt., xxxvul-1x, 1923-4, p. 165), but the details show no Pergamene 
influence and the composition is merely bad. Adequate publication of the 
Ince-Blundell copy will render the early date more obvious, for in it 
both the heads are in a good state of preservation. 

Terminal figure, from Rhamnus, Athens, 313 (Ephem. Arch., 1891, 
p. 56, pl. 7, Stais dates the inscription to the middle of the third century ; 
Kavvadias’ Cat. says it is certainly of the third century). 

Relief of Apollo and Artemis beside an omphalus, from Eretria 
(Kourouniotes, Ephem. Arch., 1911, p. 32, fig., says the lettering belongs 
to the middle of the third century), conventional work. 

Silver statuette of a boy and goose, found at Alexandria with coins of 
240, Brit. Mus. (Cat. Si/ver Plate, 7, pl. vir; ‘F.H.S., v1, 1885, pl. 1; 
Rém. Mitt., Xxxvuil-1x, 1923-4, p. 161, note 1). 

Terracottas from a tomb at Eretria (including the Erotes, pl. 1), 
Boston (Ephem. Arch., 1899, p. 222, Kourouniotes dates inscriptions end 
of third century ; Vollmdller, 4th. Mitt., xxvi, 1901, p. 333, pl. xv, 
dates the first interment before Alexander). A gem signed by Gelon 
was also in the tomb (Beazley, Lewes House, no. 102). 


PAYER. GHIRD CEN LORY. 


Bronze statuette, Naples, 808 ; identified as Antiochus II, by 
Schreiber, Bildn. Alex. p. 272, figs. 30, 31, and Dickins, 7.H.S., 
XXXIV, 1914, p. 307, fig. 10.1. The resemblance to Seleucid coins of 
this time is at least enough to date the type. 

Portrait head, Prado (Eimz., 1654), subsequent to the Demosthenes, 
no criteria for accurate dating. 

Diademed head, Ny C.G., Tillaeg, 1914, 450 a., Billedt. Tillaeg, 
vur; Poulsen (K. Danske Vid. Selskab, 1913, no. 5, Tétes et bustes) 
notes that the beard is worn in similar fashion by Philip V, but he ascribes 
it elsewhere (La Collection Ustinow, p. 24, fig. 27) to the beginning 
of the third century. 

First dedication of Attalus (Lowy, Inschr. gr. Bildh., p. 119 3 Bien- 
kowski, Darst. Gall., nos. 1, 2, 3) 45 5) 10, 11, 12,13; W. 348.4, 349.1, 
25 4, 5) 3 head of dying Asiatic, pl. 33, Terme (Br. Br., 515 ; Helbig, 
13543 W. 349.6). 

III 


Di Av) EAR Ge RS ER RScCoUrLerar Or her 


Bronze statuette of satyr from Pergamon (Furtwangler, Satyr aus 
Pergamon, 40 Winck. Berlin, 1880; W. 368.4). — 

Bronze satyr with wine skin, Naples, 815 (Lippold, Kopien, p. 134, 
on the larger marble copy in Madrid, Einz., 1740; Overbeck and Mau, 
Pompeji, fig. 285). 

Terracotta satyr with skin, Cairo (Zon. Piot, xvii, 1910, p. 76, 
fig. 15). 

Heads of Gauls, Alexandria (zbid., pl. vit). 

Ludovisi Fury, pl 35, Terme (Br. Br., 238; Bulle, 262; Helbig, 
1301; W 347.5) 

Barberini satyr, pl. 34b, Munich, 218 (Bulle, 178, 220; sug- 
gested restoration by Bulle and Habich, fahrb, xvi1, 1902, p. 31 3 
W. 346.1). 

Gaul, from Cervetri, pl. 38, Metr Mus. (Bull. March, 1909, 
p 453 Mon. Piot, xxi, 1913-14, p. 180, figs. 6, 7). 

Drunken satyr as represented on coin of Nicaea (Lippold, Kopien, 
p. 128); basalt copy, Munich, 502 ; bronze copy, Naples, 858 (Einz., 
2943-4; head, Magnesia, p 220). 

Satyr head, from Magnesia (zbzd., p. 219, pl. virr), similar to above. 

Bronze statue of sleeping satyr, Naples, 842 (Fahrb., xvi, 1901, 
p. 114, fig. 6; W. 346.2), poor copy. 

Basalt head of satyr, Ny C.G., 370, Billedt., xxiv, possibly an Aphro- 
disian original. 

Head of youth sucking wine through a pipe, , Ny C.G., 369, p. 148, 
Billedt., xxiv. 

Guanes of wrestlers, Uffizi (Bulle, 184.3; Arch. Anz., 1894, p. 192 ; 
W. 340.4); the heads do not belong ; copy in Italian marble 

Menelaus carrying dead Patroclus, Loggia dei Lanzi (Amelung, 
Fiihrer, 5 ; Br. Br. 343 3 side view, Studniczka, Farnes. Stier, Zeitschr. 
fur bild. Kunst, N.F., xtv, 1903, p. 179, figs. 9, 10), “ Pasquino ” 
(Amelung, Fiihrer, fig. 2; Br. Br. 3474), head of Menelaus, Vatican 
(Cat., 1, Sala dei Busti, 311, pls. 68, 73), head of Menelaus, Leconfield 
Coll. 23, head of Patroclus, Leningrad (Sbornik, 1, 1921, pls 1-vit), 
a group from the Peloponnese is mentioned by Leake (Travels in the 
Morea, u, p. 488); two similar figures from the Cerigotto wreck, 
Athens (Stais, Euremata, p. 44, figs. 19, 20) ; the group is imitated in a 


I12 


AGP. P EN Des 


terracotta from near Sassoferrata, Bologna (Not. Scavi, 1903, p. 184, 
fig. 5), which condemns K lein’s date of c. 50. 

Bronze statuettes of fighting men resembling the Menelaus, Parma 
(Einz., 72b 5 Arndt, Glypt. Ny. C., text to 110 right), and from Egypt 
(Arch. Anz., 1907, p. 357, figs. 1, 2). 

Amazon, Borghese palace (Br. Br. 347b ; Lowy, us., vit, 1907, 
p. 79, figs. 2-5 ; us., VIII, 1913, p. 195, fig. 4), female counterpart of 
the Menelaus. 

CIRCA 200. 

Head from Pergamon, perhaps of Attalus I, Berlin (Hekler, 75 ; 
W. 348.5). 

Smaller dedication of Attalus (Bienkowski, Darst. Gall., p. 373 
Venice copies, Einz., 2542-4, 2550-1 ; Bulle, 223 ; W. 350, 351). 

Altar from Magnesia of 221-207 (Magnesia, p. 175, pls. vi, vir; 
W. 356.2). 

Portrait of Chrysippus, 280-207 (Poulsen, Ikon. Misc., p. 12, the 
Steensgaard head is now in the Copenhagen Nat. Mus.; Ny C.G., 
Tillaeg, 1925, 425a, Billedt. Tillaeg, vir 3; Hekler, 116; W. 344.6-8). 

Similar head in Uffizi (Amelung, Fiihrer, 136 ; Hekler, 115b). 

Head of Euthydemus of Bactria, pl. 37a, Mus. Torlonia (Rém. Mitt., 
fe1o04,p. 107, pl. Vv; Delbriick, Porir., pl. 29 ; W. 339.4; 5)- 

Supposed head of Antiochus ITI, reigned 222-187, Louvre (Hekler, 
123; Dickins, 7.H.S., xxxiv, 1914, p. 308, fig. 11, identifies with 
Agathocles of Bactria, of the early second century). 

Head called Aratus, Naples (Hekler, 73b; Wace, F.H.S., xxv, 
1905, pl. 1x.2 ; Bienkowski, Darst. Gall., figs. 39, 40 ; W. 349.7). 

Heads of Ptolemy IV, 221-203, and his wife, Arsinoe, pl. 36, 
Boston, 57, 58 (fourn. Egypt. Arch., X1, 1925, p. 187, pl. xxiv). 

Head of a barbarian, Brussels, 23 (Furtwangler, Coll. Somzée, 48, 
pl. xxiv), the hair is knotted up in the method later employed by the 
Germans. 

Pair of centaurs, Capitoline (Cat., p. 2743; Br. Br., 392; W. 382.2, 
cf. 382.1 in Louvre); young centaur, Doria Gallery (Bull. Comm., 
XLVIII, 1920, p. 40, pl. 11; Ezmz., 2271-2) ; heads of the old centaur, 
Berlin, 205, Barracco (Helbig, 1125); heads of young centaur, Aix 
(Einz., 1391), Munich, 222 (Br. Br., 5a). 


H 113 


LACT ERY GURAE ByK Ss Cau Patek ee 


Bronze statuette of dancing satyr, Naples, 814 (Bulle, 102 ; Dickins, 
Hell. Sculp., fig. 3 3 W. 368.3). 

Satyr playing flute, Villa Borghese (Br. Br., 435; Bulle, 79; 
Einz., 2767-8 ; Helbig, 15643; W. 343.13; Boll. d’Arte, x1v, 1920, 
p. 46, fig. 7); a more trustworthy head in Florence (zdid., fig. 6 ; Milani, 
R. Mus. Arch., pl. cri); bronze statuette in Florence (zdid., pl. 
cxxxvit), Naples (Bulle, fig. 30) ; I cannot agree that the Conservatori 
fragment (Bull. Comm., vit, 1880, pl. xrx ; Helbig, 945) is of earlier 
and simpler style, it is rather of late and barbarous incompetence. 

Torso of fighting giant, Ny C.G. (193, Billedt., x1v ; Einz., 1799, 
1800; Bienkowski, Darst. Gall., 30a, figs. 73a, b). 

Small figures of fighting satyrs, Conservatori (Bull. Comm., xvu, 
1889, pls. 1,11; W. 368.1); Ny C.G. (486, Billedt., xxxvur ; Arndt, 
Glypt., p. 194, pl. 140, combines with the torso of the Villa Albani, 
Einz., 1107-8) ; another figure in Metr. Mus. 

Sleeping Hermaphrodite, pl. 40, Terme (Helbig, 1362; Bulle, 
179; Br. Br., 505, in the text Arndt expresses the view that the style 
is that of the transition from third to second century ; Dickins, Hell. 
Sculp., p. 57, fig. 42 5 W. 381.1) 3 the statue of a sleeping Maenad, 
Athens, 261, is a variant of Roman decorative workmanship. 

Sleeping Eros, pl. 41b (Ashmole, 7.H.S., xi11, 1922, p. 244, pl. x ; 
Bulle, 189 ; copy from Tralles, Smyrna Evangelical School (Ephem. 
Arch., 1923, p. 84, fig. 243) Metr. Mus. Bronzes, 132, Handbook, 
fig. 100). 

Bronze head called Berenice, perhaps an Amazon, Naples, 849 
(Br. Br., 385; Rayet, Aon. de l’Art ant., u, pl. 51); cf. Attalid 
Amazon. 

Sacrifice relief, pl. 41a, Munich, 206; cf. relief with seated 
poet, from Athens (4th. Mitt., xxvi, 1901, p. 126, pl. v1). For older 
literature on landscapes see Pagenstecher, Landsch. Relief, latest treat- 
ment by Schober (Vienna Fahrb. f. Kunstgeschichte, 11, 1923, p. 38) 
and Krahmer (Fahrb., XL, 1925, p. 191). } 

Stela of Parmeniscus from Avlona, Vienna (Fahresh., xxI-1l, 1922, 
p. 128, fig. 47), with lettering ascribed to the second century and battle- 
scene showing Pergamene influence. A similar stela near Avlona 
(Praschniker and Schober, 4rch. Forschungen in Albanien u. Montenegro, 


I14 


APPENDIX 


p. 72, fig. 87) bears an inscription of c. 200. The peculiar features of 
these stelze must be set down to a local artist or artists. 

Frieze of the labours of Heracles, from Pergamon (v. Salis, Altar v. 
Perg., p. 91, fig. 15), recalls Megarian bowls. 

Two stelz, from Chios (4th. Mitt., x11, 1888, pp. 195, 363, pl. m1) : 
the one in memory of Metrodorus, pl. 42, is now in Berlin, 766a. 
Studniczka placed the inscriptions in the early second century, Bruckner 
considered they resembled those of Attalus I more than anything else, 
Prof. Wilhelm informed me that they were probably third century 
but could only be vaguely dated. Cf. the Avlona stelz, and the stela 
of Diogenes from Imbros, Constantinople, 963. 

Frieze of the temple of Artemis Leucophryene at Magnesia, now in 
Berlin, Louvre and Constantinople (AZagnesia, pp. 84, 185, pls. x11-x1v ; 
W. 356.1). The temple was not finished till 129, and Krahmer 
(Fahrb., xxxx, 1925, p. 197) considers this to be the date of the frieze : 
to my eyes it closely resembles the dead Amazon of the smaller dedication 
of Attalus (Br. Br., 482), the Gigantomachy, and the stela of Met- 
rodorus, and the date should therefore lie between 200 and 170. In 
the absence of any later work of the same style, a lower date than 170 is 
inadmissible. 

Frieze at Teos (Einz., 1345-8 ; W. 356.7), cf. Magnesia frieze. 

Frieze at Cos (Benndorf, Reisen in s.-w. Kleinasien, 1, p. 13, pls. 
u-1v ; W. 356.6), cf. Magnesia frieze. 

Bavcsot a pirl, Lerme (4us., x, 1921, p. 53, pls. 1, 1), cf. Attalid 
Amazon and Magnesia frieze. 

Mounted Amazon fighting two soldiers, Villa Borghese (Einz., 2779- 
2781 ; Fahrb., 11, 1887, pl. vit), has been compared with small dedi- 
cation of Attalus but is more like the Magnesia frieze. 

Frieze from the Theatre at Delphi (Krahmer, ‘fahrb., xxxx, 1925, 
p. 196, fig. 8), cf. Magnesia frieze and the Gigantomachy. 


EARLY SECOND CENTURY. 


Diademed head, Naples, 889 (Hekler, 738 5 W. 338.1); Ippel, 
Bronzefund v. Galjtb, p. 65, compares coins of Ptolemy V and VI, 
and Antiochus IV, all of this period. 


EVs 


LATER G REST KY SiC OL Per ore 


Gigantomachy from Pergamon, Berlin: begun after peace of 188, 
Klein, Vom ant. Rokoko, p. 20 ; style, v. Salis, A/tar v. Perg., p. 150 5 
the slabs apportioned to artists, Schuchhardt, AZerster des grossen Frieses 
v. Perg., with good plates ; W. 352-5. 

A group at Wilton House is paralleled on the Gigantomachy (4rch. 
Zeit., 1881, p. 161 3 Klein, Gr. Kunst, 11, p. 127). 

Sculptures from Pergamon in the style of the Gigantomachy. 4/t. 
vu. Perg., Vil, nos. 43, 475 50, 51590, I12, 115, 123, 130, aanepe te 
interesting to compare the female head pl. 44 (no. 90; W. 359.1, 2) 
with a fragment from the Altar of Magnesia (Magnesia, fig. 181). 
Imitations of fifth century sculptures, Krahmer, Rém. Mitt., xt, 1925, 
p. 67. The female figure with the sword-belt (no. 47 ; W. 359.3) dates 
the so-called Muses of Philiscus, of which apparently this figure was one 
(Lippold, Kopzen, p. 170; Sardis, v.1, p. 64); Schede (Rém. Mitt., 
XXXV, 1920, p. 65) condemns as an ancient forgery the Philiscus signature 
attached to a female portrait statue from Thasos, Constantinople, 136 
(Dickins, Hell. Sculp., fig. 33; W. 361.7), the style of the figure is 
certainly Imperial as he says, and I think its period is c. 100 A.D. 

Head of centaur, pl. 46b, Conservatori (Helbig, 925 ; Br. Br., 535), 
cf. the giant’s head of the Gigantomachy (Léwy, Gr. Plastzk, pl. 105.1913 
W. 383.3) ; an Imperial copy. 

Fighting man from Delos, Athens (Br. Br., 9 ; W. 350.1), formerly 
attributed to Niceratus (Leroux, B.C.H., xxxtv, 1910, p. 486). 

Torso of a god or king, Berlin, 1486 (Kurze Beschr., pl. 55c). 

Male torso from Magnesia (AZagnesia, p. 218, pl. x). 

Torso of Triton, from Delos, Brit. Mus. (Caz., 111, 2220, fig. 36). 

Metopes, from Troy, Constantinople and Berlin Aus. fir Vélker- 
kunde (Br. Br., 162a ; W. 341.1, 23; Dérpfeld, Troja u. Ihon, p. 429, 
Beilagen 49-51). 

Head of Zeus, from Troy, Constantinople (zbid., p. 438, Beilage 54), 
cf. Zeus of Syracuse (below), of uncertain date. 

‘““ Dying Alexander,” Uffizi (Br. Br., 264 ; Amelung, Fihrer, 151). 

Similar head, Ny C.G. (Cat., 372, Billedt., xxv, Tillaeg, 1914, p. 148), 
copy. 

Head of Gaul, Cairo, 27475 (Bulle, 222 ; W. 349.4); its Perga- 


mene character is obscured by its unfinished condition, but is recognised 


116 


AG Pele heN ED lex 


by Klein, Gr. Kunst, u1, p. 73 3 Wace, B.S.4., 1x, 1902-3, p. 235 ; 
and Dickins, Hell. Sculp., p. 11, fig. 6. 

Head of Gaul or giant, formerly in Mykonos, Delos (Bienkowski, 
Darst. Gall., figs. 46-7 ; B.C.H., xxx1v, 1910, pls. 9, 10; Rev. Arch.,4 
RVatOLO.1, p. 341. 

Head of Zeus from altar of Hiero II, Syracuse (Mauceri, Italia 
Artistica, Siracusa, p. 46, fig. ; della Seta, Italia Antica, fig. 136). 

Heads of Homer (Hekler, 117, 118a; W. 345.5), possibly derived 
from a statue at Pergamon the base of which has been found (Inschrif- 
Pein 67-0... 2.03). 

So-called Seneca, pl. 48 (Poulsen, Ikon. Misc., p. 41 5 W. 345.4) 3 
Wace (B.8.4., x, 1903-4, p. 111) ascribed to Myron, the sculptor of 
the drunken old woman, and Six adopts the idea on the ground that 
the mouth is open in each case (B.C.H., xxxvul, 1913, p. 370). 

Similar head, Naples (Hekler, 94a), copy. 

Head of sea-centaur, Vatican (Br. Br., 139 3 W. 375.3), copy. 

Torso of satyr, Uffizi (Amelung, Fuhrer, 153 ; Bulle, 107), copy. 

Belvedere torso (Br. Br., 240; Sauer, Torso von Belv., identifies as a 
Polyphemus shading his eyes with his hand), Neo-Attic copy. 

Sriton. vatican (Br Br., 137; Bulle,219g; Cat., nu, Galled. Stat, 
253, pl. 463; W. 375.2), copy. 

Torso of satyr, pl. 47, Naples, 287 (Ezmz., 539, 540), copy. 

“* Marsyas,”’ Zagreb and Capitoline, see p. 109. 

Scylla group (Klein, Gr. Kunst, 1, p. 322); on a mirror cover in 
Berlin (Neugebauer, MJeisterwerke in Berlin, Gr. Bronzen, pl. 22) ; 
represented on the breast-plate of a statue of the Odyssey signed by Jason, 
the Athenian, probably from Hadrian’s library, Athens (4th. Mitt., 
xIv, 1889, p. 162, pl. v); on Megarian bowls (Courby, Vases gr. d 
reliefs, p. 344, no. 23, p. 381, no. 35). 

Satyr and Maenad in “‘atto poco onesto”’ (B.M. Cat., 11, 1658 5 
Helbig, 1062), cf. a Pompeian fresco (Fahresh., x11, 1910, p. 148). 
The female figure is a modification of the Aphrodite of Doedalsas ; 
another modification of this type is found in a relief epigraphically dated 
to the beginning of the second century, a nymph in a cave of Pan (4th. 
Witt. XXXVI, 1911, p. 295, fig.. 3). 


in] 


LATER GREE KAS CC UPgl Por UpRoe 


“* Juno Cesi,”’ Capitoline (Cat., p. 340, Glad. 2, pl. 85 ; Bulle, 135 ; 
the head, Eimz., 470-1 5 W. 360.4). 

Drunken old woman, by Myron, Munich, 437 (Br. Br., 394 ; 
W. 345.8), Capitoline (Cat., p. 89, pl. 18); Leroux, Lagynos, p. 73, 
notes five plastic vases which reproduce this motive as well as a mould 
found at Pergamon, one of the vases has an inscription of late second 
century (Ephem. Arch., 1891, p. 143, pl. x). A signature of the artist 
found at Pergamon is of the second century. 

Female head, Barracco, 178 (Helbig, 1128). 

Mourning female head, Lyons (Adon. Piot, xxi11, 1918-19, p. 27, 
pls. 11, 111), conceivably from a Pergamene original. 

Female head from ‘Trralles, Smyrna Evangelical School (Einz., 
1342-3; Furtwangler, Masterpieces, fig. 174; W. 376.4). 

“Urania,” Vatican (Cat. u, Gall. d. Statue, 270, pl. 51; Klein, 
Vom ant. Rokoko, p. 102), slightly later than Gigantomachy. 

Fragments of group and statue, from Magnesia (AZagn., figs. 187-9, 
191; W. 364.7, 8); cf. the above, the tremendous accumulation of 
drapery and semi-transparency place them between the exuberance of 
the Gigantomachy and the schematic transparent ordering of the Tele- 
phus frieze. 


MIDDLE OF THE SECOND CENTURY. 


Telephus frieze, about 25 years later than the Gigantomachy, 1.e., 
c. 160 (Klein, Vom ant. Rokoko, p. 14.3 W. 354, 355)- 

Stela from Chios with figure resembling the Auge of the Telephus 
frieze (Fahrb., xx, 1905, p. 54, fig. 9 3 von Salis, 4/t. v. Perg., fig. 20). 

Frieze from the tomb of the schoolmaster, Hieronymus, from Rhodes, 
Hiller von Gaertringen Coll. (Hermes, xxxvil, 1902, p. 121, pl. facing ; 
B.C.H., XXxVi, 1912, p. 237, fig. 2; Br. Br., 579); lettering of first 
half or middle of second century. 

Reliefs of drunken Silenus persuading a nymph to fetch him more 
wine, Zagreb and Arezzo (Rim. Mitt., xvu1, 1903, p. 58, figs. 1, 2) 5 
a similar painting on marble was found at Herculaneum (Robert, Der 
miide Silen, xx111, Winck. Halle, 1899), perhaps from an original in the 
style of the Telephos frieze. 

Frieze from the monument of Aemilius Paulus of 167, Delphi 


118 


APPEN DIX 


(Homolle, AMélanges Boisster, p. 298; B.C.H., xxxi1v, 1910, p. 433, 
both with drawings). 

Frieze from the temple of Priene, probably contemporary with 
Orophernes’ foundation deposit of 158 (Priene, p. 118; Brit. Mus., 
1165-76; W. 356.3-5). 

Bronze statue of Demetrius I, 162-150, pl. 51, Terme (Hekler, 
82-4 ; Schick, Newe Fahrb. kl. Alt., xxxtt1, 1914, p. 19, for identifica- 
tion; W. 339.6, 7). 

Similar statue of C. Ofellius, by Dionysius and Timarchides, Delos 
(B.C.H., v, 1881, p. 390, pl. x1t), probably dates 150-130 (Lowy, Inschr. 
gr. Bildhauer, p. 176). Now more damaged than when published. 

Carneades, 214-129, statue erected at Athens apparently shortly 
before 162 by Attalus of Pergamon and Ariarathes of Cappodocia 
(Arndt-Br., 505-6 ; Poulsen, Portr. in Eng. Coll., p. 46, pl. 20; cf. 
Lippold, Gr. Portratstatuen, p. 84, on the statue by Zeuxis in Metr. 
Mus., Handbook, fig. 147). 

Riise head of philosopher, Woburn Abbey eels, Statuen- 
kopien, p. 46, pl. viit). 

Portrait of Queen Apollonis (?), Berlin (4/t. v. Perg., vu, 87, Betb- 
latt 12). 

Other statues from Pergamon (zbid., 53, 54, 68), and statue at Metz 
(Michaelis, Frauenstatue zu Metz, fahrb. léthring. Gesch., xvit.1, 1905, 
Dez ty, pl.t). 

Statue of Zeus, pl. 52, from atemple built at Pergamon by Attalus II, 
159-138, Constantinople (4th. Mitt., xxxvul, 1912, p. 316, pl. xxvi ; 
Ant. Denkm., W1, 19, text illustrates an analogous high-relief figure ; 
Lippold, Kopzen, p. 21, notes a similar statue in the Louvre). 

Boy and goose by Boethus (W. 370.1, 2; Klein, Vom ant. Rokoko, 
p. 26, date of Boethus, who was active 190-160, note 29, for 
list of replicas); bronze herm with signature of Boethus, from 
Mahdia wreck (zbid., p. 33, fig. 9; Mon. Prot., xvi1, 1909, p. 42, 
mee st..2, pl. Iv). 

Eros and Psyche (Klein, Vom ant. Rokoko, p. 35 3 W. 371.6; Wie- 
gand, Anatolian Studies presented to Ramsay, p. 405, pl. x11, a bronze 
relief from Amisus which should be compared with local terracottas of 
the beginning of the Christian era). 


119g 


LAT SE Re GaRI Bebe won Ca We icary erliee he be 


‘“‘ Innocentia,” Capitoline (Cat., p. 349, pl. 87; Klein, Vom ant. 
Rokoko, p. 100, fig. 42 5 W. 371.2), copy in Luna marble. 

Groups of little boys quarrelling, Lateran (Eimz., 21973; Klein, 
Vom ant. Rokoko, p. 34, fig. 10, accepts as a work of Boethus) ; Vienne, 
now destroyed (Rev. Arch.,* xx, 1912.11, p. 381, fig. 1 5 next vol., p. 300) 
composition of second century elements; Brit. Mus., 1756, original 
not earlier than first century B.c. 

Farnese Bull (Klein, Vom ant. Rokoko, p. 18, dates about 160; 
Was 71). 

Dancing girl, Budapest (AZélanges Perrot, p. 203; Exhib. Greek 
Art, Burlington Club, 35, pl. xxvir; Hekler, 4z antik Plasztikai, Rm. 
11, 44, with pl., compares Myrina terracottas of second century). 

Bronze Nike, Naples, 832 (Br. Br. 585; Neapolis 1, p. 19), cf. 
Myrina terracottas. 

Statues of Isis are usually in the style of the Telephus frieze, ¢.g., 
Naples, 708. 

Bronze head of Aphrodite, from Satala (Erzindjan) in Armenia, 
Brit. Mus. (Cat., 266 ; Select Bronzes, xv ; Bulle, 260 ; W. 379.7) ; 
formerly ascribed to the fourth century but cannot be earlier than the 
second, cf. Telephus frieze. 

Similar head, from Rome, Metr. Mus. (Bull., Feb. 1915, p. 25, fig. 3). 

Female statue in transparent drapery, pl. 50, from Magnesia, Con- 
stantinople, 549 (Adagnesia, pl. 1x; Dickins, Hell. Sculp., fig. 31 3 
W. 361.2) ; perhaps antedates the ‘Telephus frieze. 

Lower half of statue of Demeter, Syracuse (Hinz., 755), cf. the above. 

Statue in transparent drapery, pl. 48c, Tegea, found in the neighbour- 
hood. A statue of slightly older type is from the same spot ; Krahmer 
(Rim. Mitt., XXXVIII-IX, 1923-4, p. 174, pl. vi) ascribes to the end of 
the third century, but I do not consider it need be as early as this, cf. 
‘Telephus frieze for the style ; cf. also an Oxford statue, 7.H.S., xii, 
1923, p. 53, pl. 

Female figure in transparent drapery, Thera (Thera, 1, p. 208, pl. 23 ; 
Wr3261- 2) 

Fragments of cult-statue of Zeus Sosipolis, from Magnesia ((ag- 
nesta, figs. 185-6, Watzinger puts it a little earlier than Damophon’s 
Anytus). 

120 


AYP PEON D TX 


Damophon’s group at Lycosura, pls. 54, 55 (Dickins, He//. Sculp., 
p- 50, figs. 45-48, and B.S_A., x11, 1905-6, p. 109, next vol., p. 357 5 
A.F.A.,* X, 1906, p. 304 3 Ann. Scuola di Atene, 1V-V, 1921-22, p. 97 ; 
W. 373.1-4). “Terracottas with animal heads, from Lycosura (B.C.H., 
xxl, 1899, p. 635; Ephem. Arch., 1912, p. 159). Wolters points 
out that Damophon cannot have been concerned with the Olympia 
pediments if our date of 40 B.c. for the restoration is correct (Inschr. 
von Olympia, p. 697). 

Female head ascribed to Damophon, Capitoline (Cat., p. 122, Gall. 
Pe tee DICKins, 7.72.5., XXXI, 1O11, p. 314). 

Colossal sandal, Conservatori (zbzd., p. 308, ascribed to Damophon). 
Cf. frieze from Lamia, Athens, 221. 

Porphyry heads of satyrs (Vatican, B.S.4., x1, 1904-5, p. 173, pl. rv 5 
Ny C.G., 285, Billedt. xx ; another copy in Vienna, Rm. x1, 116), 
probably by Damophon 

Male head, Valetta (F.R.S., v, 1915, p. 77, fig. 33, P. Gardner 
compares with the Anytus of Damophon). 

Relief of Polybius, Kleitor (4th. Mitt., xxxvill, 1913, p. 274, fig. 3 3 
Studniczka, Polybius u. Dam., ascribes to Damophon, but I do not believe 
it to be from his hand though a product of the same school). 

Head of Zeus, from Aegira, Athens (Fahresh., x1x-xx, 1919, p. 1, 
pls. 1, 11 3 ext vol., p. 120; W. 373.7), probably part of the cult-statue 
by Eucleides of Damophon period, although the head in Leyden which 
resembles it (Br. Br. 155 ; W. 373.9) appears to be Hadrianic. 

Upper part of Asclepius, from Pirzeus, Athens, 258, body of Perga- 
mene character, cf. head with Damophon. 

Athena head from ‘alles, pl. 53, Constantinople, 546 (B.C.H., 
XXVIII, 1904, p. 68, pl. 111). 


LATE SECOND AND EARLY FIRST CENTURIES. 


Portrait statue, from Delos, pl. 57, Athens (Hekler, 127b). 

Bronze head, from Delos, pl. 56b, Athens (AZon. Prot, xxiv, 1920, 
p. 83, fig. 3, pls. u-1v ; Poulsen, [kon. Misc., p. 37, pls. 17-19). 

Portrait head, Delos (Zon. Piot, xxiv, 1920, p. 93, fig. 2) of the 
black-and-white class which seems to be the latest on the site, very like 
the old man on the Berlin relief, pl. 60, therefore probably a Greek ; 


I21 


LATER GREER SS CUCL Pil URE 


the preceding unwrinkled class is represented by two male heads (B.C.H., 
xIx, 1895, p. 479, figs. 6, 7); another male head (B.C.H., 1x, 1885, 
p. 18, pl. xvir) is probably not a portrait but an ideal athletic type based 
on Polyclitus, as is a head in Oxford (Exhibition of Greek Art, Burling- 
ton Club, no. 24, pl. xxrv). 

Statue of Billienus wearing cuirass, of c. 100 (B.C.H., xxx1ul, 1909, 
p. 4433; Délos, v, p. 43, fig. 60). 

The Athenians Dioscurides and Cleopatra, dated 138-7 (Délos, vu11, 
fig. 143; C. alone, B.C.H., xx, 1917, p.° 415, ng) eee 
and similar female statues, Krahmer, Rom. Mitt., xxxVulI-1x, 1923-24, 
p- 149). 

Headless, draped statue, from Priene, possibly of the builder of a 
gymnasium of c. 125 (Priene, p. 269, fig. 274). 

Bust with the name of Poseidonius, Naples, 1088 (Hekler, 126) ; he 
was a Stoic from Apamea in Syria, 135-45, and from his apparent age 
this portrait must date from c. 80. 

Male portrait head, Thera (Thera, 111, figs. 93, 94), perhaps of the 
middle of the Delos series between the bronze head and the black-and- 
white style. 

Statue of “‘ Menander,” pl. 61, Vatican (Br. Br. 495; Hekler, 
110b, 111b; Poulsen, Lkon. Misc., p. 76, suggests a Roman poet). 

Head identified as Antiochus IV, 145-143, Terme (Wace, 7.H.58., 
RXV, 1905; 0075 Din Xt 

Supposed portraits of Mithradates VI: as Heracles, Louvre head 
(Fahrb., 1x, 1894, p. 245, pl. vir; W. 384.1); as Perseus, head from 
Samsun, Warocqué Coll., 263 (Cumont, Rev. Arch.,* v, 1905, I, p. 180, 
figs. 1-2); as Heracles, bronze colossus, Conservatori (Krahmer, 
Fahrb., XXXX, 1925, p. 183, figs. 13, 14, pl. 9), and in Prometheus 
relief from Pergamon, Berlin, which symbolises the expulsion of the 
Romans from Asia (zdid., figs. 1, 2 and 10-12; W. 364.1). 

Head, from the Odeum, perhaps of Ariobarzanes who financed the 
reconstruction of 86 B.c., Athens (Arch. Deltion, v, 1919, Parartema, 
p. 7, figs. 6,7 3 cf. Praktika, 1914-15, p. 99, fig. 14). 

Portrait head on herm of Lentulus Marcellinus, from Cyrene, Brit. 
Mus. (Cat., 11, 1383 ; Smith and Porcher, pls. 65, 77), wears a diadem 
and so presumably is one of the kings who ruled Cyrene till 96. 


122 


APPENDIX 


Bearded head in bronze, from the Cythera wreck, Athens (Hekler, 
81 ; Svoronos, Nat. Mus., 1, p. 29, pl. 3). 

Head of old man, Athens (Hekler, Ffahresh., xvi, 1915, p. 61, 
ascribes to the first century Rhodian school, together with the Homer 
portrait which it resembles) ; cf. the Berlin relief, pl. 60; is probably 
first century and contemporary with the Homer head in Boston, 55 
(Hekler, 118a) a variant from the second century type. 

Portrait of a young man, pl. 59a, Athens, 321. 

Portrait of an old man, pl. 59b, Athens, 320. 

Portrait head of a young man, Athens (Schrader, 4th. Mitt., xx1, 
1896, p. 281, pl. x, compares the hair with Asiatic coins of second cen- 
tury kings, especially Iryphon; Blum, B.C.H., xxxtx, 1915, p. 26, 
figs. 1-2, identifies it with coins of Antiochus Grypus, 126-5). 

Small head of a youth, Thera (Thera, 1, p. 210, pl. 24); compare 
heads of Herms at Delos; from the Ptolemaic gymnasium where a 
second century female statue was also found (dzd., pl. 23). 

Female portrait head, Delos (B.C.H., x1x, 1895, p. 479, fig. 8). 

Turbaned head, pl. 64, Athens, 457 (Arndt, Eimz., 1207-9, rejects 
the identification as Juba II and considers it an athlete wearing ear- 
protectors, but Schober, Xenia, Hommage intern. a l’Universite nat. 
de Gréce, 1912, p. 63, 3 pls., demolishes this theory ; he agrees with 
Kastriotes that the other copy, 458, is a forgery). 

Priestess Aristonoe, from Rhamnus, Athens, 232 (Ephem. Arch., 
1891, p. 53, pl. 5), conventional, inscription of second century according 
to Kavvadias. 

Lower part of bronze female statue, from Cyzicus, Berlin (Br. Br., 
fig. after text to 558). 

For other female statues of stock types see Hekler, Miinchn. Studien, 
Rém. weibl. Gewandstatuen : add to his list of the larger Herculaneum 
type a figure in Thera (Thera, 1, p. 209, no. 2, fig.). “Trentham Hall 
sepulchral statue, Brit. Mus. (7.H.8., xxvii, 1908, p. 138, pls. xxvur- 
x; Hekler, Joc. cit., p. 247, ascribes to first century) ; similar statues 
(Arch. Anz., 1921, p. 299, figs. 2, 10, and list on p. 306). 

Stela from near Athens, pl. 60, Berlin, 1462 (Rém. Mitt., xxxu, 
[G0 7, pat 30, pl. 11). 

Stela from Smyrna, pl. 58b, Berlin, 809. 


128 


LATER GREEK SCULPT URE 


Stela from Rhodes, Constantinople (B.S.4., xxvi, p. 69, pl. x). 

Relief of sacrifice, from Pergamon, Constantinople, go (B.C.H., 
xin, 1889, p. 309, pl. 1x), resembles Delos and Magnesia material. 

East Greek reliefs, Pfuhl, ‘Fahrb., xx, 1905, pp. 47, 123 3 most are 
from Smyrna and a fair amie from Samos, of second century B.c. to 
first century A.D. 

Relief of Apotheosis of Homer, by Archelaus of Priene, Brit. Mus. 
(Schede, Rim. Mitt., xxxv, 1920, p. 65, dates 150-50 and probably of 
c. 125, by epigraphic evidence ; Hauser compares with portraits of 
Alexander Bala, ‘fahresh., vitt, 1905, p. 85). Cf. Delos relief (B.C.H., 
XXXI, 1907, p. 525, fig. 24) and Cybele statuette of an old type (B.C.H., 
Xxx, 1906, p. 558, fig. 22; Déos, vit, fig. 97), a statuette from 
Crete, Athens, 224, and a statue from Canopus (d4on. de l’ Egypte gr.- 
rom., 1, 1926, pl. xxrx. 4). 

Large votive relief of Lacratides, pl. 79, Eleusis (Festschrift Benndorf, 
p. 111, pl. iv; Farnell, Cults of the Greek States, 111, pl. 11) ; the donor 
was a thesmothete in 97, the relief was made when he was at a con- 
siderable age and therefore can be dated c. 100-90. 

Relief of Demeter and Persephone, Eleusis (Festschrift Arndt, p. 44, 
fig. 4); cf. the above. 

Cybele relief dated 119 (Conze, Reisen auf Lesbos, p. 63, pl. x1x). 

Stela, with half-length figure of Olympias, from Magnesia (Fahresh., 
XVI, 1913, p. 178, pl. Iv) ; inscription of early first century. A half- 
length female statue from Thera, Athens, 780 (Fahresh., 1, 1898, p. 4, 
fig. 2; Colligron, Stat. fun., fig. 190), is probably of same date. 

Poseidon of Melos, Athens, 235 (Br. Br., 550 ; Bulle, 74 ; Krahmer, 
Rim. Mitt., xxxvul-Ix, 1923-24, p. 146, dates 140-120 ; W. 374.8), 
contemporary with a Delos statue (B.C.H., xxx, 1906, p. 556, figs. 21, 
21b; Délos, vin, fig. 96). 

Borghese Warrior by Agasias of Ephesus, Louvre (Br. Br., 75 ; 
Bulle, 88 ; Arndt, Glypt. Ny C., figs. 105-7; W. 382.3): the artist 
worked at Delos c. 100-90. 

Head of Gaul, Delos (B.C.H., xxxtv, 1910, p. 496, figsiOy 7a 
W. 349.3), cf. portraits of Mithradates. 

Draped herm. Delos (B.C.H., xx1x, 1905, p. 16, fig. 1), cf. the 


above. 


124 


ASPePsbe Ne Dalex 


Herm of young satyr, Delos (B.C.H., xt, 1916, p. 227, figs. 35-6), 
cf. the supposed Antiochus Grypus. 

Pair of Silenus statues, Delos (B.C.H., xxx1, 1907, p. 517, pls. x-x1), 
foreheads lumpy, not corrugated with wrinkles like their successors, 
the supporting figures of the Athens theatre (‘Fahrb., xxiv, 1909, p. 215, 
figs. 25-30, and xxxI, 1917, p. 80, fig. 46); cf. a Capitoline statue 
(Bull. Comm., 111, 1875, p. 135, pls. xtv, xv) and fragment (Bull. Comm., 
XXXVI, 1908, p. 284, fig. 2), also a terracotta (B.C.H., vii, 1888, pl. rx). 

Apollo with foot on Galatian shields, Delos (Fahresh., xtx-xx, 1919, 
p- 194, fig. 122; Délos, vin, fig. 99) ; twisted pose, body sleek like the 
Aphrodite of the erotic group, cf. head with Telephus frieze. Work 
resembles a Dionysus of an older type (B.C.H., xxx1, 1907, p. 511, 
igs) 21, *22). 

Statuettes from Priene (Priene, figs. 461-470; W. 377.2). 

Small head of Hermes, from Pharsalus, Athens, 196 (Rev. Arch.,4 
XXI, 1913, I, p. 272, fig. 2), archaistic influence. 

Statuette of Asclepius, from Cos, Dresden, 215 (Arch. Anz., 1892, p.158, 
no. 2); probably a second century version of a fourth century type, note 
heavy pectoral muscles and abdominal hollows emphasised by the copyist. 

Erotic group, pl. 63, from Delos, Athens (B.C.H., xxx, 1906, 
pls. x1mt-vi1. Heads of Pan, Dresden, 262, and Vatican (Br. Br., 199) 
are probably of earlier type. 

Head of Poseidon said to have come from Crete, Ny C.G., Tidlaeg, 
1914, 470a, Billedt. Tillaeg, vi11 ; Poulsen ascribes it to some Hellen- 
istic school related to the Pergamene, and IJ think it may belong to the 
time of Mithradates. 

Apollo, from Cyrene, Brit. Mus. (7.H.8., xii, 1921, p. 2343 W. 
376.2, 3) 3 copy in Capitoline (Cat., Salone 7); cf. Metr. Mus. (Cat., 
Gems, 137); a variant as Dionysus leaning on a satyr, Tripoli (Notiziarto 
rite ii, 1622, p. 73, figs. ). 

Apollo, from Tralles, Constantinople, 548 (Br. Br., text to 593, 
fig. 4; Bulle, 216; W. 376.6); found in a building of c. 2003 cf. 
head in Capitoline, Gal/., 13. 

Boy, from Tralles, pl. 74, 75, Constantinople, 542 (Aon. Prot, x, 1903, 
p. I, pl. 1v), a merely superficial resemblance to the Delphi Thessalian 
in similar dress (B.C.H., xxu1, 1899, pl. xxva). 


noe 


LATER GREEK SCULPT U RE 


Upper part of youth, from Tarsus, Constantinople (Gaz. arch., 1883, 
pl. 11); apparently somewhat later than the Tralles boy, but may be 
pre-Augustan. 

Youth, from Eretria, Athens, 244 (Br. Br., 519; Einz., 264 ; 
Collignon, Stat. fun., p. 282, figs. 175-7); the head is of an old athlete 
type and the body of another old type (Bieber, ‘Ffahrd., xxv, 1911, p. 275). 

Torso of Nike, perhaps from Monument of Euboulides, Athens, 
233 (Br. Br., 49; W. 373.5), cf. Lacratides relief. 

Small female head, from Athens, Constantinople, 408; cf. tur- 
baned youth, Athens 457, and Priene statuettes. 

Artemis, from Delos, Athens, 1829 (Arch. Deltion, 11, 1916, Parar- 
tema, p. 79, no. 4, fig. 3), cf. Aphrodite of erotic group and Lycosura 
Artemis’ drapery. 

Head of girl carrying water-pot, from Pergamon (4th. Mitt., xx1x, 
1904, p. 189, fig. 21). . 

Small head of Aphrodite, Samos (4th. Mitt., xxv, 1900, p. 161, 
no. 23), poor. 

Head of Hygieia, from Aegion, Athens, 192. 

Head of Aphrodite, from Athens, pl. 77, Boston, 28. 

Fragments of head and torso of female statue, from Pergamon (4th. 
Mitt., XxxV, 1910, p. 494, pl. xxm). 

Venus of Milo (Hill, Hundred Masterpieces of Sculpture, mentions 
coins with similarly precarious drapery, all representing Nike and of 
c. 300; Collignon, Sculp. gr., 1, p. 472 on the drawing of the base 
attached to a herm; Krahmer, Rém. Mitt., xxxvuI-Ix, 1923-24, 
Piso AW. 387) 

“Kore” head, from Tralles, Vienna (Einz., 864-5 ; W. 379.1, 2), 
the resemblance to the Venus of Milo has long been recognised. 

Torso of Aphrodite, Brussels, 18 ; Furtwangler compared to Milo 
(Coll. Somzée, 35). 

Fragment of Sleeping Ariadne ?, pl. 78,° Prado (Eimz., 1574-6; 
Klein, Vom ant. Rokoko, p. 95), cf. Sassoferrato pediment, Bologna 
(Not. Scavi, 1897, p. 285, figs. 1, 2, 8), fresco from House of Vettii 
(Fahresh., x1, 1910, p. 444, fig. 67). 

Aphrodite, from Cyrene, pl. 76, Terme (Boll. d’ Arte, vil, 1914, 
p. 177, pls. 5; W. 280.6). 


126 


AD PSP EON] DAleX 


Athena, from Cyrene, Brit. Mus. (F.H.8., 1921, p. 239, pl. xvu. 2) 
imitation of a bronze of c. 400. 

Aphrodite of Aphrodisias (Athens copies, 4th. Mitt., xxu, 1897, 
p. 361, pls. x1, x11) appears first on coins of Augustus ; the robes are 
embroidered in the manner of Damophon with a group of the Graces 
and other Hellenistic scenes; Wagenvoort (Meded. Nederland. Inst. 
Rome, 1, 1921, p. 108) compares the Tellus scene of the Ara Pacis with 
this Aphrodite, there wrongly referred to as Ephesian Artemis ;__ cf. 
generally Zeus Heliopolitanus and Ephesian Artemis, whose coin-type 
dates from 87-84 (Rém. Mitt., xxix, 1914, p. 200) ; and for embroid- 
eries cf. Chigi Athena (F.H.8., xxxtl, 1912, p. 43, pl. 1). 

Head of Athena, perhaps from the monument of Euboulides, Athens, 
234 (Hekler, Miinchn. Studien, p. 122; Milchhofer, Arch. Studien 
Brunn, p. 37; W. 373. 6), copy of the Velletri type. 

Female head from Mantinea (Fougéres, Mantinée, fig. 54, pl. v1). 

Female heads, from Priene, Berlin (Priene, figs. 124-6). 

Headless statue of a girl, from Priene, Brit. Mus., 1154 (4. 7.2.,? 
XXVI, 1922, p. 421, fig. 7), work of the same class as the Tralles boy, 
imitating fifth century. 

Female torso, from Philadelphia, Smyrna Evangelical School (B.C.H., 
v, 1881, p. 279, pl. xi) ; the town was founded in mid second century, 
the statue seems to be an imitation of late fifth century. 

Pemalesliead, Delos (B.C.H., xxx, 1906, p. 560, figs. 23, 23b; 
Délos, vit, fig. 100), cf. the statue from Delos. 

Relief head of Phoebe, Delos (B.C.H., x1, 1916, p. 191, fig. 20), 
cf. the semi-Polyclitan athletes of Delos : similar bust of a veiled woman 


(irc, XXtx, 1905, p. 17, fig, 11). 


EARLY NEO-ATTIC. 


Bronze relief, Delos (Br. Br., text to 621, fig. 1 3 Mon. Prot, xvin, 
1910, p. 19, pl. v1; Vallois, B.C.H., xtv, 1921, p. 242, finds it men- 
tioned in an inventory of 156-5), cf. the goddess with archaistic work 
from Pergamon, therefore more likely to be second than third century. 

Silver, from a tomb in Thessaly, Athens (Arvanitopoulos, th. 
Mitt., xxxvu, 1912, p. 73, pls. 11-v, dates tomb c. 150) ; an alabastron 
is decorated with repoussé scenes, of Erotes like Eretria-Myrina types 


C7 


LA TE RR GUREE EK ore Os Pe Usher 


(pl. 1), and of Silenus watching two nymphs nursing the infant 
Dionysus ; a pyxis has figures of Maenads, prototypes of the Neo- 
Attic representations. But these of course were ultimately derived from 
Scopas and are already fairly developed in some early Seleucid seal- 
impressions on cuneiform tablets. 

The Pyrrhic dancers on a Vatican slab (Helbig, 291) are paralleled 
on a basis in the Small Acropolis Mus., 402, 402a, dated by the lettering 
to the latter half of the fourth century. 

Circular altar, Delphi (Bourguet, De/phes, p. 325), cf. relief in Small 
Acrop. Mus., 458, which Walter considers fourth century ; and cf. 
Lippold, Gemmen, pl. 58. 

Statuette of Demeter ?, pl. 88, Vatican (Fahresh., xvi, 1913, p. 206, 
figs. 102-4). 

Relief of young man and three courtesans, Naples, 578 (Bulle, 285 ; 
Klein, Yom ant. Rokoko, p. 145, pl. v), figure on extreme left is in fully- 
developed Neo-Attic style. 

Neo-Attic vase, pl. 83, Metr. Mus (Richter, 7.H.8., xtv, 1925, 
p. 201, pls. vi-rx, deals with the style and prototypes of other reliefs). 


LATER FIRST CENTURY. 


Head of Cotys, King of Thrace, pl. 62b, Athens, 351 (7.H.8., 
xvul, 1897, p. 321, pl. x1; Klein, Gr. Kunst, 111, p. 197, calls it Attic 
of the end of second century or possibly beginning of first, for reasons I 
do not appreciate). 

Male portrait head from Cyme, Constantinople, 599 (Rev. Arch., 
1888, 1, p. 84, pl. xv, 2nd row ; Wace, 7.H.S., xxv, 1905, p. 96, E, 
says early imperial), perhaps Augustan. 

Pair of male and female portrait heads from Asia Minor, Athens, 
362-3 (Poulsen, Ikon. Misc., p. 35, pl. 15), perhaps Augustan. 

Head of young man, Thera (Thera, 1, p. 224, pl. 17), late first century. 

Hoard of terracottas including the life-size head of a man, ‘Thera 
(Thera, 11, p. 171, figs. 164-9), about the end of the first century. 

Portrait statues of women, from Magnesia, Constantinople (AZagnesta, 
p. 198, figs. 198-200) ; similar sepulchral statues from Asia Minor, 
Oxford (Michaelis, Frauenstatue zu Metz, figs. 1-3). 

Bronze youth, from Cythera wreck, Athens (Ephem. Arch., 1902, 


128 


ASPSPSraNe Dy lex 


pls. 7-12; F.H.S., xii, 1923, p. 142); head of a late Polyclitan or 
Naucydes type brought up to date in the first century B.c. One of the 
ships’ instruments mentions a month not found before 30 (Leroux, 
Lagynos, p. 102). 

Youth, from Epidaurus, Ny C.G. (Collignon, Rev. 4rch.,5 1, 1915, 
I, p. 40, figs. 1-3, dates end of first century B.c. to early first a.p. ; Fra 
Ny C.G. Samml., 1, p. 1). 

Female head, from Magnesia, Constantinople (Magnesia am M., 
p. 201, fig. 201), cf. supposed monument of Euboulides. 

Female head, bought at Smyrna, Brussels, 22 (Rev. Arch.,4 1, 1903, 
Fy pi, ple 2a). 

Female bust in terracotta, bought at Smyrna, Brussels (¢dd., p. 3, 
pls, 1; 1b). 

Female head, from Pergamon (4th. Mitt., xxxVvul, 1912, p. 315, 
pl. xxv), portrait of the middle of the first century. 

Small female head on bust that does not belong, Naples, 793 (Ame- 
lung, Bull. Comm.,® xxv, 1897, p. 130, fig. 10; cast in Ashmolean) ; 
small female head, Basel (zbzd., figs. 8, 9 ; Einz. 899, 900, Arndt com- 
pares preceding and the head in Taormina, Eimz., 573, 574) 3 cf. alsoa 
head from Capri, Cleveland (Bul/., April, 1919). 

Female head, from Rhodes, Shear Coll. (4.7.4.,? xxv. 1920, p. 313, 
pls. 11, 111), conventional work of second or first century. 

Head of Muse, Lateran (4tti Pontif. Accad.,2 xv, 1921, p. 284, 
pl. v) ; Dr. Krahmer has drawn my attention to the similarity of Athens, 
363 (p. 128). 

Pair of Caryatids, from Eleusis, Eleusis (pl. 65b) and Cambridge 
(Annuario, Scuola di Atene, UW, 1916, p. 201, fig. 43; Michaelis, Anc. 
Marbles, p. 242, no. 1, drawings) ; the architectural ornament supports 
identification of this propylaa with that of Appius Claudius Pulcher, 
who died in 48 B.c., and cf. Lacratides relief of c. 100-90. 

Statue of nymph, from Tralles, Constantinople, 543 (Rev. Arch.,! 
IV, 1904. m1, pl. x1); poor work resembling that of the Magnesia statues 
of women, the drapery has a fringe like that of the Cyrene Aphrodite 
with which it may be compared for its solidity yet relative slimness, 
especially at the back. 

Statue of ‘“ Niobid,” from Leptis, Constantinople, 581 (Br. Br., text 


I 129 


LATER GREEK SCULPTURE 


to 640, fig. 415; Romanelli, Leptis Magna, fig. 18); not a Niobid 
but probably a dancing nymph, for it resembles figures on fourth and third 
century reliefs of nymphs dancing in the cave of Pan; cf. style of the 
Magnesia women and the terracottas of Myrina. 

Statue of a girl, from Ak Shehir, Constantinople, 583 ; cf. the Mag- 
nesia women. 

Reliefs on the Tower of the Winds, Athens (Br. Br., 30; W. 375.5, 6). 

Frieze of the Hecateum at Lagina, Constantinople (Caz. 1, p. 428, 
Mendel ascribes to end of first century ; Studniczka, Fahrb., xxxvut- 
IX, 1923-4, p. 120). 

Reliefs from Miletus, Constantinople ; Knackfuss (AZi/et, 11, p. 87, 
pls. xvi-xvu1) compares the Lagina frieze. 

Laocoon, W. 383.1, 23; for copies see Fahrb., xx1, 1916, p. 1 ; 
Mon. Piot, xvi, 1909, p. 209, pls. xxur-u1; for dating, Blinkenberg 
et Kinch, 11 Rapp., 1905, pp. 75-81. 

Bronze statuettes, etc., from a wreck near Mahdia, Tunis Mus. 
(Mon, Piot, xvir and xvur; Studniczka, Art. u. Iph., p. 69, note 2) ; 
apparently of late first century, there were Neo-Attic vases on board. 

Sculptures, from Cyme, Constantinople, 597, 598, 600 (Rev. Arch., 
1888, 1, pl. xv), all very late Hellenistic or Imperial. 

Group of sea-centaur carrying off a woman, Vatican (Cat., m1, p. 386, 
no. 228, pl. 43; Br. Br., 258), largely restored but the style seems akin 
to that of the Laocoon. Cf. gems. 

Head of old peasant, pl. 68b, Dresden, 178 (Br. Br., 395). 

Statue of old woman, pl. 68c, Metr. Mus. (Handbook, fig. 144 5 
Not. Scavi, 1917, p. 526, figs. 45, 46; Bull. Comm., xxxv, 1917, pl. vit). 

Head of old woman, pl. 68a, Dresden 176 (Br. Br., 395b). 

Basis of Cn. Domitius Ahenobarbus, pl. 66, Munich and Louvre 
(Fahresh., X11, 1910, p. 95 3 Strong, Scu/tura Romana, pls. 1-11 ; W. 


384.45 5). 
AUGUSTAN. 


Arretine ware, according to Chase (Boston Cat., Arretine Pottery) 
was made from 40 B.c. to 80 a.p. ; the finest products are of Augustan 
date and decadence sets in after 60 a.p. ; the sources drawn upon include 
all sculpture from the fifth century onwards. 


130 


APPEN DIX 


““ Campana ”’ terracotta plaques belong to reigns of Augustus and the 
next few emperors (v. Rohden, Antiken Terrakotten, 1v.1, p. 22). The 
Egyptian elements are discussed from the Egyptologist’s point of view, 
Proc. Soc. for Biblical Arch., Xxx1V, 1912, p. 300. 

“Narcissus,” bronze statuette of Dionysus, from Pompeii, Naples, 
817 (W. 377.1), appears to be a free version of a statue a life-size copy of 
which exists in Florence (Amelung, Fiihrer,103) ; cf. the modelling of 
the head with the Julio-Claudian portraits on two terracotta medallions 
(Winnefeld, 68. Winck. Berlin, 1908, p. 19, 20, pl. 111.6, 7). 

Head of Sleeping Ariadne, from Nero’s villa at Subiaco, pl. 81b, 
Terme (Helbig, 1355). 

Relief of Euripides, pl. 80, Constantinople, 574 (Lippold, Portrat- 
statuen, p. 52, and Poulsen, Coll. Ustinow, p. 21, agree that a fourth 
century statue of Euripides is represented). 


CARTHAGE. 


Delattre, Musée Lavigerie, catalogues recent finds. For sarcophagi 
see, Mon. Piot, x11, 1905, p. 79, pl. vir ; Carcopino (4¢ti Pontif. Accad., 
111, Memorie, 1, 2, p. 109). Mabel Moore, Carthage of the Phoenicians, 
gives many useful illustrations. 


THE ALPS. 


Koepp, Bonner Fahrb., 125, p. 38 3 Studniczka, Fahrb., 1903, p. 1, 
pl. 1, deals with Augustus’ arch at Susa; Ducati, MZon. Ant., xxiv, 
1916, p. 401, 8 pls., on the Corsini throne (pl. 91) which he dates 
350-250. 


MAGNA GRECIA. 


Relief from Ceglie, N. Apulia (pl. gob), Boston, 49. 

The askoi of Canosa come from tombs dated by Ptolemaic inscribed 
bowls to the third and the end of the fourth centuries ; the town was 
sacked in 199 and again in 89, and most of the vases and statuettes are of 
the third century (Mayer, 4pulien, p. 71 and 305 ; Pagenstecher, Nio- 
biden, p. 27 3 Bienkowski, Neapolis, 1, p. 307 ; relief of two horsemen 
fighting, Metr. Mus., Bul/., August, 1913, p. 175, fig. 3). 


Ut 


LAT EVR G RYEESK po. CUn Ler T URE 


The terracotta mould from Taranto, pl. 92b, Scheurleer Coll., Hague, 
bears the letters “ API,” short for Ariston (os) probably, and a mould 
in the Brit. Mus. bears the same mark, as I am informed by Dr. 
Scheurleer. 

Limestone relief of warrior, pl. 92a, from Taranto, Scheurleer Coll. 
(Arch. Anz., 1922, p. 212, fig. 7); Rumpf (Rém. Mitt., xxxvi-1x, 
1923-4, p. 469) ascribes to early fourth century in an article collating 
most of Tarentine fourth century sculpture. 

Two limestone reliefs, from Taranto, Berlin (4rch. Anz., 1919, 
p. 106, nos. 26, 27, ascribed to fourth century on comparison with vases). 

Four caryatids and a frieze of cupids drawn in chariots by lions, from 
a tomb at Vaste, in private collection at Spongano and Lecce Mus. 
(Rim. Mitt., x1, 1897, p. 128, figs. 7-10; Ed. Schmidt, Archaist. 
Kunst, p. 65, dates middle of the fourth century by the drapery). 

Hypogeum at Lecce with frieze of battle and frieze of floral decora- 
tion, contains Messapian grafhti (4us., vill, 1913, p. 7, pl. 1, Bendinelli 
dates early third century rather than end of fourth), uninteresting work. 

Terracotta heads from Taranto, Berlin (Fourn. Int. Numism., rv, - 
1901, p. 94, pl. 7, 8). 

Bearded head from Taranto, Taranto Mus. (4rch. Anz., 1914, 
p. 199, fig. 8), middle of the third century, cf. ““ White ” Marsyas and 
‘Terme Boxer. 

Relief of hoplites and cavalry fighting, from Lecce, Budapest (Fah- 
resh., XVII, 1916, p. 94, pl. 1, Hekler dates towards the end of the third 
century) ; cf. groups from Canosa vases. 

Terracotta Niobids from a tomb with Gnathian ware, Vienna, 
Mus. fiir Kunst und Ind. (Masner, Samml. Vasen u. Terrak. im K.K 
Mus , nos. 860-873; Stark, Nzobe, pl. vit, badly restored ; Pagen- 
stecher, Niobiden, p. 1) ; Gnathian ware is found before 282 (B.C.H., 
XXXV,10F1, p. 202), 

Limestone statue of a boy, from Taranto, Berlin, 502 (Collignon, 
Stat. fun., fig. 126), similar to the servant boys on a first century relief 
from Smyrna, Berlin, 768, and on other East Greek stelz. 

Terracotta reliefs from Taranto, Arndt Coll. and Trieste (Pagen- 
stecher, Unterital Grabdenkm., pl. xviu), cf. Campana reliefs but less 
developed and probably earlier. 


E32 


AP PEN Delx 


Sieveking, Miinchner ‘fahrb., x1, 1921, p. 117, on a Tarentine 
school of decorative art of fifth to fourth century ; cf. Pernice, Fahrb., 
KX, 1920, p. 83. 

Numerous votive figurines, from Capua, Campano Mus., Capua 
(Rim. Mitt., xxt1, 1907, p. 412, pls. x-x1r), evidence of stagnation of 
about two centuries in the tufa work, the terracottas are better. 

Bronze cuirass with Athena heads in relief, from a Punic tomb of 
c. 200 near Ksour es Saf, Tunis Mus. (Aon. Piot, xv, 1909, p. 125, 
pls. xi11-x1v, Merlin believes it to be Campanian and cites a similar 
culrass in the Naples Mus.), hard, wide-eyed type like Taranto terra- 
cotta heads. 

Hellenistic Hypogeum at Reggio di Calabria (Neapolis, 11, p. 100, 
pl. v). 

High relief, from Palazzolo Acreide, Sicily (Arch. Anz., 1921, p. 195, 
fig. 49), probably early Hellenistic. 

Rock-sculptures at Palazzolo Acreide (Mauceri, Italia Artistica, 
Siracusa, figs. pp. 135-6). 

Head of Zeus, from the Altar of Hiero II, Syracuse Mus. (édid., 
p. 46, fig. ; della Seta, [taka Antica, fig. 136), style of the Pergamon 
Gigantomachy ; other sculptures at Syracuse illustrated by Mauceri 
are probably imperial. 

Greco-Phcenician stela of a girl, from Lilybeum, Marsala Mus. 
(Pagenstecher, Nekropolis, p. 22 and fig. 12). 


CEN ERAT. TUALLY: 


I reserve a detailed examination of Etruscan and early Roman sculp- 
ture for an article ; in general my dating is based on Cultrera’s note on 
the Volumnii tomb (Not. Scavt, 1916, p. 25). 


33 


ADDENDA 


RECENTLY PUBLISHED SCULPTURES 


A female head from Cos, apparently belonged to the cult-group by the 
sons of Praxiteles. Bieber (Fahrb., xxXVIII-Ix, 1923-4, p. 242, pl. vi), 
dates early third century and collects similar heads, to which I should 
like to add Boston, 54. 

Head of Artemis (?), Taranto (édid., p. 262, fig. 13) ; based, like the 
Chios head, on the early period of Praxiteles. 

Other Tarentine sculptures (Bull. Comm., L111, 1925, p. 96, pls. 1, 11). 

Maenad as caryatid, from Theatre, Syracuse (4rch. Anz., 1926, 
p- 170, fig. 33; Rizzo, Teatro gr. di S., fig. 42, pl. vt) ; rough work in 
sandstone, probably a support of the Hellenistic stage. A similar 
Telamon (tid., figs. 43, 44) and a relief of Pan (id:d., fig. 46) are both 
from Syracuse. 

A frieze from the Theatre, Corinth (4.7.4.,2 xxx, 1926, p. 456, 
figs. 9-14), Is said to be of Pergamene age. 


ADDITIONAL REFERENCES. 


To p. 12,95. Female head from Cyzicus, Dresden. Bieber (Fahrb., 
XXXVIII-IX, 1923-4, p. 262, figs. 14, 15) associates with the sons of 
Praxiteles. 

To. p. 14, 97, Winter identifies the Niobe Master with Timotheus 
(Fahrb., XXXVII-IX, 1923-4, p. 49). 

To p. 14,97. Crouching youth from Cythera wreck and youth from 
Subiaco, interpreted as wrestlers, Arch. Anz., 1925, p. 209, 210. 

To p. 15, 103. Head of goddess, Alexandria. Waldmann, Gr. 
Originale, pl. 177. 

To. p. 30. Head of Persephone, Metr. Mus., Bull., Dec. 1910, p. 27, 
figs. 2-4. 

To. p. 94. Alexander. Head found near Alexandria, Geneva (Jon. 
Piot, xxvu, 1924, p. 87, pl. vit) ; resembles Azara head. 

To p. 97. “ Aristippus.”? Headless statuette, Metr. Mus. (4. 7.7.,? 
XXIX, 1925, p. 152). 

134 


ADDENDA 


To. p. 99. Bearded head, Delphi. Studniczka suggests Paulus 
Aemilius or some other Roman of the second century (Drei friihe 
R émerk opfe). 

To. p. 100. Head of Alexander from Cos, Constantinople. Bieber 
(Fahrb., XXxx, 1925, p. 167, pls. vir, vitr), considers an original of 
early third century. 

To p. 103. “‘ Nymph,” Syracuse. Rizzo, Teatro gr. di 8., p. 156, 
figs. 73, 74. 

To p. 105. Demosthenes. Bronze statuette, B.C.H., xLvit, 1924, 
p. 504, fig. 19. 

To. p. 105. Hermarchus. Head in Ny C.G,, ibid., p. 377, pls. 
Riv, XY: ; 

To. p. 109. Bronze head with corkscrew hair, Naples. Lehmann- 
Hartleben gives reasons to identify as Thespis (Rém. Mitt., xt, 1925, 
p- 139). 

To. p. 110. Satyr struggling with hermaphrodite. Marconi dates 
late in Pergamene kingdom, in a long essay on erotic groups, Bull. 
Comm., LI, 1923, p. 225. 

To. p. 112. Barberini satyr. Miinchner Fahrb., xu, 1921-2, p. 90. 

To p. 113. Chrysippus. Head on “ Aristippus” statuette, Metr. 
Mus (4. F.4.,? xxix, 1925, p. 152). 

To p. 114. Bronze head called Berenice, Naples. Copy from Perin- 
thus, B.C.H., xLvit1, 1924, p. 276, pls. 1v-vi1. 

To. p. 117. So-called Seneca. Identification as Epicharmus, Bull. 
Comm., XLU, 1924, p. 241. 

To. p. 117. Satyr and maenad. Marconi dates in first half of second 
century, Bull. Comm., x1, 1923, p. 225, pl. 1. 

To. p. 118. Female head from Tralles, Smyrna. Ephem. Arch., 
1923, p. 67, figs. 5, 6. 

To. p. 121. Olympia restorations. Latest treatment, Schrader, 
Phidtas, p. 124. 

To p. 125. Erotic group from Delos, Athens. Arch. Deltion, 8, 
1923, Pp. 175. 

To p. 129. Nymph from Tralles, Constantinople. Ephem. Arch., 
1923, p. 80, fig. 19. 

135 


. 
’ 


6 -d “(unasny uossog) SOMA AO SALLANLV.LS V.LLOOVUYAL 


Prare 2. 


j 


6 +d (unasnyy uvryodourayy Y40{ 29N) SUOLOV OLNOO AO SVLLOOVYNEL 


PLATE 3. 


TERRACOTTA OF NEGRO BOY SLEEPING 
BESIDE A POT (Oxford, Ashmolean Museum), p. 9. 


$4 / zs 
SA ICR it 


(4) (¢) 
TTANAGRA TERRACOTTA OF OLD TERRACOTTA OF IDIOT, FROM 
WOMAN AND CHILD (Dresden, CABEIRIC SANCTUARY (Boston 


Albertinum), p. 9. Museum), p. 9. 


PLaTE 4. 


‘21d *(unusuagyp ‘uapsa4q.) SANOIZAOD WOU AVAH 
(7) 


‘rid “(20payy oyjtd °9uoy) AAOVATAWN 
(7) 


PLATES. 


MARBLE STATUETTE OF BOXER (New York, Metropolitan Museum), p. 11. 


PLATE 6: 


HEAD FROM CHIOS (Boston Museum), p. 12. 


PLATE 


c 


1 ‘d ‘(unuijsagip ‘uapsiiq) 
(9) 


ae 


IdOuHdV AO AVHH 


. 


a 


c 


1 ‘d ‘(anasnpy 


au1joj1g0y 
(7) 


‘auod) ALIGOWHdV 


PLaTE 8. 


By Courtesy of the Fogg Art Museum 
FEMALE HEAD (Cambridge, Mass.—Fogg Art Museum), p. 12. 


PLATE 9. 


ck 


. 


d 


c 


(wnuisag] p ‘uUapsetq ) 
GVNAVIN 


©) 


‘cid “(anasnpy uvzipodoujapy ‘¥40[ aN) 
HOLVLS IVA 
(7) 


IPwNGIe eey 


C1 +d ‘(wnasnpy jvuouen ‘suayip) 
AINAVIYV 


‘cid “(unasnpy sijodowp ‘suayip) 
YHANVXATV 


‘cid “(unasnpy uvjijodouapy ‘y¥s0{ aN) 
AO 


(7) 


“fr -d “(ustsaq fo 700499 puvjsy apoyy ‘s2uspiaodd) F1.LAQ.LVLS ‘zx -d “(asan0T) NOSWL GATIVO-OS 


(7) ‘LUpUuYE “010YT 


_ 
_ 
[ea] 
is 
< 
4 
A 
— 


Jeng ane Sie. 


Photo., Anderson. 


Photo., Brogi. 


SON OF NIOBE (Florence, Uffizi), p. 13. 


PLATE 14 


Photo., Brogt. 


YOUTH FROM SUBIACO (Rome, National Museum), p. 14. 


Photo., Alinari. 


YOUTH FROM CYTHERA WRECK (4¢hens, National Museum), p. 14 


PLaTE 16. 


‘oi -d (wnasnypy pouonon ‘suayip) YAXO@M AZNOUA 
(9) 


“pid (aionusayy (possuiuaT) VAMO'IOS WOU AINOO ATOO 
(7) 


‘“(unasnYy v1upuoxP) SSTqddOD 
(7) 


¢ 


I ‘d “(anasnyy DIAPUDX II P ) dO 


~) GOaaadv: 


+ 


| 


d 


PLATES Tor 


“Sid “(wnasnpy Misuse “viydepr7iyd ) AAANVNAIN 
(7) 


YsOL 


“Sid “(anasnypy uvpijpodouayy 
“N) YAHdOSOTIHd AO GVAH TIVINS 


(2) 


PLATE 19. 


— 


‘3 
( 
f 


SILENUS CARRYING INFANT DIONYSUS (Munich, Glyprothek), p. 16. 


‘oid ‘(unasnyy uvsouysp “pa ) SHNAH.LSOWAd ‘gid “(wnursagyp ‘uapsasq) NWd 
(7) (2) 


fo) 
N 
[<2] 
io 
< 
J 
Ay 


REATE 2 Ts 


GIRL WITH DOVE (Munich, Glyptotheh), p. 17. 


"Li vd “(yaysordt7y ‘yaunyy) KOP-UALVS AZNOU ‘Lid (unasnpy viupuoxap) KO 
(7) (7) 


"YUN ‘uunuyonag * qt “O10YT 


a 
nN 
aa] 
= 
< 
=| 
Ay 


PLATE 


"Lid “(uoou0, 


\ 


1) XGAOVAL AO 
(7) 


r 


HS OW 


“ANH NOdTAW 


"Lid “(su0gvasasuory 1ap 0%% 
(7) 
eM: O-de$ 


ojo ‘ 


20d) TALD 


24. 


PLATE 


‘gi td “(sayinbyup fo unasnpy ‘uapseT) FONIYd WV 
(7) 


"Lid ‘(wnutpsaqyp ‘uapseqd) ASNIN V 


gid “(wnasnpy 


uvzijodossa Jy 


(7) 


‘y40{ 2IN) SA'TOVYAH 


‘Lid ‘(asan0T) YLIGOWHdV AO ALLAO.LV.LS AZNOU 
(2) 


PLaTE 26. 


me une 


ie inst ies NT . 


RES 


HERACLES (New York, Metropolitan Museum), p. 18. 


BRONZE HEAD OF A BERBER (British Museum), p. 18. 


Prampe2ie. 


(7) 


"gi cd “(wnasnyy yououon ‘amwoy) YAXOW AZNOUA 


Pi 
LA 
E 
2 
rs 9 


M 
u 
5€ 
um) 
> 
Pp 
mai 


PLATE 30. 


Hegise! 
(uononysuodel) FONVA OL pee ONILIANI 
7 


UALVS 


‘gid “zWlpQ ‘a2uas0p 7) eae ONIGNIYD FZAVIS 
D 


"YUNA ‘UuunuUyonag “J “o10yg 


‘61 +d “(wnutsagrp ‘uapsaiq) 
dNOUD NOLLVLIANI tO Hd NAN 


61 +d “(asano7T) 
dNOUD NOLLVLIANI 


HOseLAG IY 


5 


PLATE 


‘oz *d “(wnasnpy autzoqidey ‘aum0oy) TAVSD ONIAA 


PLATE. 33. 


Photo., Anderson. 


DYING ASIATIC (Rome, National Museum), p. 20. 


PLATE 34. 


‘red (yayindt7y ‘yrunyy) URLVS INIUACUVE 


(7) 


“YIlUNyAy “UUDUYINAG “yf “0j0Y 


“LDU “0104 


‘oz ‘d “(wnasnyy sazdon) SON ATIS 


PLATE 35. 


Photo., Alinari. 


SLEEPING FURY (Rome, National Museum), p. 21. 


PLaTE 36. 


ARSINOE III, QUEEN OF EGYPT (Boston Museum), p. 21. 


RLATESs 7. 


(2) Photo., German Institute. 


KING EUTHYDEMUS OF BACTRIA 
(Rome, Torlonia Museum), p. 21. 


SEB? ree x Re E 
as dE I lami 


(4) 
WOUNDED GREEK (Venice Museum), p. 22. 


FIGHTING GAUL (New York, Metropolitan Museum), p. 22. 


PLATE 39. 


MARSYAS ABOUT TO BE SKINNED (Rome, Palazz> dei Conservatori), p. 22. 


"Ez *d “(unasnpy pouoren ‘auwoy) ALIGOUHdVINUAH DNIdvATS 


‘uosszapupy “oloUg 


PLATE 41. 


(2) 
SLEEPING EROS (Rome, Palazzo dei Conservatori), p. 23. 


PLATE 42. 


GRAVESTONE OF METRODORUS (Berlin Museum), p. 23. 


"Sz -d “(unasnyy 449g) SLNVID AGNV SGOD AO ATLLLVE 
SULNASN TAT -UOWDSAIT Sap uainygjnys ald MOAT 


) 


"COD & 42]ANAD ap 4az]D 4 ‘ 


UNIT) 


PLATE 44. 


HEAD FROM PERGAMON (Berlin Museum), p. 28. 


PLAT Ded ce 


DANCING GIRL (Constantinople Museum), p. 28. 


Photo., F, Bruckmann, Munich. 


roe. I 
SS 
wT 


00 
N 
a 

= 
g 

S 
Sy 
iS 
S 
x 
S 

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8 
S 
N 
N 

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Ss) 

Q, 
th 
S 
S 

Re 

Cae 

a4 

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<< 
= 

Z 

x] 

O 


(2) 


ALEXANDER (Constantinople Museum), p. 28. 


PLATE 47. 


inare. 


Photo., Al 


SATYR (Naples Mu 


Seum), p. 28. 


Pirate 48. 


“62 -d “(wnasnpy vasa.) 
AA.LV.LS HIVNGAA 


gz *d “(wnasnyy sajdon) 
VOANAS GATTIVO-OS 


(7) 


ez -d ‘(wnasnpy jouo1en ‘auoy) 
VOANAS GHYTIVO-OS 


PLATE 49. 


"gcd ‘(wnasupy utjueg) TZALWA SQHdA TAL 


COD Q 4a1kndy ap 4aq]V A ‘UIj4ag) ., SWnasn]A,-UuowUDsAIg Sap UaANGNYS aiq ,, MOAT 


PLATE 50. 


FEMALE STATUE FROM MAGNESIA (Constantinople Museum), p. 29. 


"62 -d “(wnasnpy jouoijon ‘auoy) | 


(7) 


SOLA LAWAd AHO AN.EV.LS 


HZNOUd 
(v 


) 


PLATE 52. 


ZEUS FROM PERGAMON (Constantinople Museum), p. 29. 


py 


53. 


PLATE 


ATHENA (Constantinople Museum), p. 29. 


PLATE 54. 


“of +d ‘(wnasnpy vunsor] uz osson £ wnasnyy peuounyy ‘suyiP) NOHMOWVA AG SLNAWOVUA 
) (9) 
Bite ngs Lio Selig "YQWnTAy ‘UuDiuyonag * J 0104 


PLATE 


DRAPERY BY DAMOPHON (4¢hens, National Museum), p. 30. 


PiaTE 56. 


bE -d S(wnasnpy 
jououen ‘suyip) SOTAGC WOU LIVULYOd AZNOU 
(7) 


‘of 


‘d ‘(wnasnyy uvjyodouap ‘Y4of aN) ANOHdASUAd 
() 


Photo. Alinari. 


= 
Lo ey 
a 
ee 
NS 
S 
~ 
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SN 
SN 
is) 
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= 
is 
S 
= 
a 
cee 
n 
eo) 
4 
ea 
SQ 
= 
© 
a4 
fy 
LH 
— 
x 
(a4 
= 
[a4 
© 
A, 


PraTE 58. 


bE -d ‘(unasnyy uypag) ANOLSAAVAD 


“L$ ‘Id *TIVULYOd AO AVAH 
(2) 


‘aInyusuy uvulsayy “o,OYT 


59. 


PLATE 


"SE -d “(unasnpy jououeN ‘suayip) NVI CATO 
(9) 


“OIN]ISUT UDULAA £) “OVOUT 


“hE +d “(anasnyy 


aqNqYsUuy UDWAIL) ‘°0JOY 


[0U01ION ‘suayIp 


(2) 


) NVW ONNO 


x. 


PLaTE 60. 


FAMILY GROUP (Bertin Museum), p. 35. 


PLATE 61. 


AUTHOR, SO-CALLED MENANDER (Vatican), p. 35. 


PLATE 62. 


“SE -d ‘(unasnpy pououon ‘susyip) JOVUH.L AO SALOO ONIN SE d “(yapord(7H Suagspsvy Wn ‘uasoyuadoy) KAAINOd 
(9) (2) 


| 
a 
5 


foe) 
a, 
Ss 
Si 
S 
= 
SS 
S 
NS 
aS 
S 
=, 
a 
zg 
S 
SS 
Ss 
A, 
2) 
© 
ad 
©) 
2 
HH 
© 
(a4 
joa} 


PiaTE 64. 


TURBANED YOUTH (Athens, National Museum), p. 38. 


Pirate 65. 


"Of +d “(unasnyyy 150317) CL LWAUVO 
(7) 


“6 -d “(augvay J, ‘suayiv) SANATIS 
(7) 


PuaTeE 66. 


‘ob -d ‘(yaysoid 75 ‘yrtuny) SATAVAONAHV AO SISVA WOU SUALSNOW-VAS 


—— 


PLaTE 67. 


Photo., Altnari. 


LAOCOON (Vatican), p. 40. 


Piate 68. 


(2) 


OLD WOMAN 
(Dresden, Albertinum), p. 41. 


(2) 


OLD PEASANT OLD WOMAN 
(Dresden, Albertinum), p. 41. (New York, Metropolitan Museum), p. 41. 


Photo., Alinart. 


ARCHAISTIC RELIEF OF THE SEASONS (Louore), p. 43. 


PLATE 70. 


CARYATID (Constantinople Museum), p. 43. 


Pinte? 


DANCER (Berlin Museum), p. 44. 


PLATE 72. 


LADY FROM DELOS (Athens, National Museum), p. 44. 


73: 


PLATE 


Photo., Alinari. 


AD OF LADY, pl. 72. 


HE 


PLATES 74. 


BOY BOXER (Constantinople Museum), p. 


HEAD OF BOY BOXER, pl. 74. 


PLaTE 76. 


Photo., Anderson. 


APHRODITE FROM CYRENE (Rome, National Museum), p. 45. 


APHRODITE (Boston Museum), p. 45. 


2W) ¢ ANAVIUV 


‘uosdapup “oJoud 


‘Mou py “o104d 


ob ‘d 


€ 


(wnasayy 5180777) SACIALVUOVT AO AMITAY ‘SALLING NVINI 


2 


OaTaA 


gh -d “(unasnyy adouszuvisuoy) SACIAIUNA AO AAITAY 


ALANA es ea 


ee a 


° 
oe) 
3) 
& 
<x 
=) 
Ay 


PLaTE 81. 


"ghd ‘Wunasnypy jouoyiopyy “auoy) INAVIUV ONIdAATS PRE CLENG TACHA i y mateo aa: 
(7) 


id 
re 


PuatTe 82. 


Photo., Brogi. 


THE IMPERIAL FAMILY, SLAB FROM ARA PACIS AUGUSTAE (Florence, Uffizi), p. 48. 


PLATE 83. 


NEO-ATTIC VASE (New York, Metropolitan Museum), p. 48. 


A VA EAE SEENON CEN IOC RIN RE RaSh 


he RE ORL SHRP Le A NON ES AGEN AEST NOEL PIRES NLO RON IE TD SS IME TIARA LOAN OLR ES ELIE IE AOA 


p- 49. 


by 


Albani) 


8 
= 
XN 
S 
& 
Ss 
Re 


AD ( 


MAEN 


Ee 
ae 
4 
a 


t. 


Alinar: 


Photo., 


49. 


P 


2 


i) 


Villa Alban 


5) 


MAENAD (Roe 


Pirate 86. 


(4) : 
STUCCO PANEL (Rome, National Museum), p. 49. 


PiaTE 87. 


(2) 


VICTORY, STUCCO (Rome, National Museum), p. 49. 


DANCER (Athens, National Museum), p. 49. 


Pirate 88. 


Photo., Anderson. 


STATUETTE OF DEMETER ? (Vatican), p. 49. 


PLaTE 89. 


“1dDU1] a O1OUd 


“6 


‘d 


‘(unasnyy 140150) INO.LSAAVUD OLLLV-OAN 


PLATE 90. 


$5 +d ‘(wnasnpy uosog) 
AHITHa NVITOdV 


2S +d “(unasnyyl asvy740-)) 
SQOODVHdOONVS 


PLATE Ol: 


i hg " aos 
RS SP MC 


Photo., Anderson. 


STONE THRONE (Rome, Corsini Gallery), p. 53. 


PLATE 92. 


“HS -d “(uanasnpy saapnayIg ‘ansvj{) 
QGINOW V.LLOOVYNAL WOdd LSvO 
(7) 


“bS -d (wnasnpy saapinayrg ‘ansvjz) 
OLNVYVL WOW YAIAdTOS 


(7) 


“LS +d ‘(tuvuvduvry 


OLLOOT 


¢ 


77120950.) VITANVOSO.L WOW SAODVHdOOUVS SNVIN 


PLATE 94. 


"6S -d “(wnasnpy arr) ‘vusoog) THd TAG WOU STOVD AHL JO ASTNday “AZALMA V.LLOOVUYAL 
(7) 


“L$ -d ‘(uourduvy ozzvjyg ‘vjjauv7s0,.) WYTANVOSO.L INOW SQDVHdOOUVS SINVINNOM 
(2) 


PLATE 95. 


he 


§ 


d 


€ 


(2 


wouvgiv’y 


OZLLOIO 


€ 


vjjauv2soy,) VITANVOSO.L WOW SAOVHdOOUVS S 


¢ 


NVI 


PiaTE 96. 


Photo., Alinart. 


MARBLE URN (Florence, Archaeological Museum), p. 58. 


PLATE 97. 


6S -d “(wnasnyy [0215800907 4p 
(7) 


youn ‘uUuDUyINAg "J ‘010UT 


¢ 


993.1071) LOLVUO AZNOU 


"gS -d ‘(vyniy o77t4 ‘auoy) GVAH V.LLOOVUUAL 
(2) 


‘uosdapup “0JOYT 


PraTe 98. 


Photo., Alinari. 


URN (Perugia, Tomb of Volumnii), p. 60. 


PLATE gg. 


Pheto., Alinari. 


ALABASTER URN (Volterra, Guarnacci Museum), p. 61. 


PLATE I0O. 


“bod ‘(unasnpy praty 080214) DNIAUVO ANOW 
(9) 


‘19 °d “(oynty oni ‘3lioy) NUN V.L.LOOVUYAL 
(2) | 


PLATE 1roOr-. 


‘1g *d “(unasnyy ystg) NUN UALSVAVTV ‘NOISSAOOUd 


redone B® 


sd “ 
* z i 
PKS A AED He ett he My, 


PLATE 102. 


zg d (unpsonbyup ‘auoy) TL NAWOANOW 
SUAAVTAELATA ‘SOOd AC GCAYOV.LLVY SNAHdYXO 


wou py “0104 


hate. 


Ee i ee ee en ae 
‘zg d “(untonbiyup ‘auoy) 
LNANONOW SYAAVTIdHLATA WOW SLNAN OVA 
(2) 


‘tupUull py “0qOYd 


Frage 1035 


SS 
Ke) 
a 
® 
S 
= 
= 
8 
< 
%S 
— 
< 
Z, 
a4 
ee 
ip) 
ca 
4 
<i 
jee 
2 
© 
ee 
fy 
EH 
< 
az 
is 
a 
oO 
Ay 


ie 
Oo 
_ 
<3 
f 
<= 
J] 

lal 

a. 


P 


? 


rai) 


FAMILY GROUP (Palmyra, Se 


= 
= pee 
a 
AS 
aS 
i SO 
7 a 
ae 
ae 
sie 
ea 
Z, a 
Oo 
BS 
Sells 
S| os 
HS 
<i $0 
Pa AS 
aPEo¢ 
ue 
fr) 
Zz 
< 
Boe, 
FS 
> ® 
%S 
mR 
Pie 


PLaTE 105. 


(2) 
TERRACOTTA MUSICIANS FROM BABYLONIA 
(British Museum, Nos. 91796, 91817), p. 71. 


(4) 
STATUETTES FROM BABYLONIA—MARBLE GODDESS, 
TERRACOTTA EUROPA, ALABASTER GODDESS 
(British Museum, Nos. 91669, 91782, 91671), p. 71. 


PLATE 106. 


‘EL -d “(ys0q pnsuin) 
GdOO-NNS FHL ANV Ng Stes 4O SMHOOLLNV 
“ 


ate 


A 


a kegel 


corer 


sora L$-Ll—q ¢Ll-gg— {99-f21—g fora gf 1-121-—p 
‘cL -d S(wnasnpy ysul4g) SNIOO NVIH.LUVd 


Prare 107- 


‘gol -d ‘(wnasnypy sjassnsg) 
‘GV AYUO.LNAO GNOOUS “dVaH ALIYVAWIH 
(9) 


‘€L -d “(auanoT) 


ANOLSHAVAD AN 


+ 


Rel 


KW'IVd 


PLATE 108. 


Photo., Government of India. 
() 
CAPITAL (Sarnath Museum), p. 79. 


’ ima 
ee ee a ee 


Photo., Indian Museum List, 57. 


(*) 


Photo., Government of India. 


(2) RAILING FROM BUDDH GAYA 
CAPITAL (Sarnath Museum), p. 77. (Calcutta, Indian Museum), p. 81. 


PLATE 109. 


Photo., India Office, Record No. 2274. Photo., Victoria and Albert Museum, No. 27847. 


(2) (4) 
PILLAR FROM BHARHUT BUDDHIST SAINT FOUND NEAR 
(Calcutta, Indian Museum), PESHAWAR (Berlin, Museum fiir 


p- 80. Vilkerkunde), p. 82. 


PLATE TO. 


Photo., Victoria and Albert Museum, No. 27849. 


PANEL FOUND NEAR PESHAWAR 


kunde), p. 82. 


Museum ftir Volker 


5; 


Lin 


(Ber 


Prawn tye 


By Courtesy of the Metropolitan Museum of Art. 


(2) 
(2) 
CHINESE STELA OF EARLY KUANYIN, GODDESS OF MERCY, 
SIXTH CENTURY A.D. CHINESE OF SEVENTH CENTURY 


(Chicago, Art Institute), p. 88. A.D. (New York, Metropolitan Museum), p.88. 


Prameein2: 


Se ae ap eae ee ye ee eS Te) at LT ae 
‘06 +d “(r/nuozy ‘740N') ADNAN TANI | 

NVdYON YAGNNA ‘C'V AUN.LNAO H.LNAAAS ATAVA AO 

AZNOU ASANVdVI ‘AOUAW AO SSAAAOD ‘NONNVY 


(9) 


LVI 


"gg °d “(omsusuy tap 0800149) 
‘TV AUOLNAO H.LXIS 
dO ASANIHO ‘LNIVS .LSIHGGNd 


INDEX OF SUBJECTS 


(No references to Appendix alone, except for portraits and general subjects 

not quoted in Index of Places). 

Abyssinia, 68 76. 

Actors, terracottas from Athens, 9, pl. 2 ; Chinese statuettes, 88. 

Aden, tanks, 76. 

Aeschines, 96. 

Aeschylus, 93. 

Agasias, 35, 124. 

Agathocles of Bactria, (?), 113. 

Agrippina head, Thera, 38. 

Ahenobarbus, basis of, 40, 130, pl. 66. 

Alabaster, 59, 61, 108. 

Alexander, 12, 28, 94, 98, 100, 134, 135, pls. rob, 46a; Bala 124; 
Sarcophagus, 14, 97. 

Alexandria, 67, 91. 

Alpine art, 53, 131. 

Amaravati tope, 82. 

Antioch, 16, 69, 102. 

Meeecuusi1(!), 111 ; 11 (?), 1133 rv (?), 1223 Grypus (?), 94,123; 
of Commagene, 73. 

Anzio girl, 16, 104. 

Aphrodite, Capitoline type, 12, 95, pl. 7 ; crouching, by Doedalsas, 17, 
109, pl. 25a; of Melos, 35, 126; in Delos group, 38, 125, pl. 63 ; 
head from Athens, 45, 126, pl. 77; from Cyrene, 45, 126, pl. 76 ; 
bronze head from Armenia, 69, 120 ; of Aphrodisias, 127. 

Apollo from Cyrene, 45. 

“ Apollonius of T'yana,” 99. 

Apulia, 53, 54.131, 132. 

Ara Pacis, 48, pl. 82. 

Aratus (?), 108 ; so-called, 113. 

Arch at Susa, 53, 131. 

Archidamus, 94. 

Archimedes (?), 106. 


R 137 


LAT EVR GREE KS CU Li Pv Ur Ee 


Ariadne, 17, 103 ; head from S. Slope, 13, 14, 97, pl. toc ; head from 
Subiaco, 48, 131, pl. 81b; fragment, 46, 126, pl. 78. 

“Aristippus,” 97, 134. 

Aristotle, 94. 

Armenia, bronze head of Aphrodite from, 69, 120. 

Arretine ware, 49, 130. 

Arsinoe, 21, 113, pl. 36. 

Artemis of Ephesus, 127. 

Asiatic, head of dying, 21, 111, pl. 33. 

Asoka, 77. 

Attalus I (?), head of, 1133 first dedication, 20, 111, pls. 32, 33; 
second, 21, 27, 113, pl. 37b; A. II, Zeus of, 29, 119, pl. 52. 

Baalyaton, 69, pl. 104b. 

Babylonia, Greek influence in, 69-71. 

Bactria, 21, 79, 83, 113. 

Barberini satyr, 21, 112, 135, pl. 34b. 

Basis of Ahenobarbus, 40, 130, pl. 66. 

Berber head from Cyrene, 18, 109, pl. 27. 

Bharhut reliefs, 80, pl. 109ga. 

Blomfield, Sir R., quotation from The Mistress Art, 24. 

Boethus, 119. 

Bone carvings, 64, pl. 1oob. 

Borghese warrior, 35, 124. 

Boxer, marble statuette, 11, 94, pl. 5 ; bronze, 18, 108, pl. 28 ; bronze 
head, 16, 101, pl. 16b. 

Boy, Lysippic head, 12, 95, pl: 10a; from Subiaco, 14, 48, 97, 134, 
pl. 14; crouching, 14, 97, 134, pl. 15; head from Alexandria, 
17, pl. 22a; from Tralles, 44, 125, pls. 74, 75 ; pulling out thorn, 
47. 

Buddh Gaya, railing from, 81, pl. 108c. 

““ Campana ”’ reliefs, 131. 

Canosan vases, 53, 131. 

Caricatures, 9, pl. 3. 

Carneades, 119. 

Carrara marble, 59. 

Carthaginian sculpture, 51, 131, pl. goa. 


138 


DNDEX OFS U By ECTS 


Caryatids, Silenus as, 39, 125, pl. 65a; female busts, 39, 129, pl. 65b ; 
archaistic, 43, 96, pl. 70. 

Casket from Bimaran, 81. 

Centaur head, 28, 116, pl. 46b ; old and young c., 22, 113. 

Cerigotto wreck, 124. 

Children, 16, 93, 104. 

China, 15, 86-90. 

Chrysippus, 113, 135. 

Comb from Solokha, 14, pl. 16a. 

Commagene monument, 73, pl. 106b. 

Cotys, 35, 128, pl. 62b. 

Couches, carved, 64, pl. 100. 

Country scenes, 9, 114. 

Cuirass, 52, 133. 

Cupids, 9 ; on Chinese bowl in Toronto Mus., 88. 

Cyprus, 66, 68. 

Cyrene, 68. 

Cythera wreck, 128. 

Damophon’s group at Lycosure, 30, 121, pls. 54, 55. 

Delos, 32, 33. 

Demeter (?), 49, 128, pl. 88. 

Demetrius I, 29, 34, 119, pl. 51 ; Poliorcetes (?), 96, 99. 

Demosthenes, 16, 105, 135, pl. 20b. 

Dennis, quotation from Cities and Cemeteries of Etruria, 60. 

Diogenes (?), 100. 

Dionysius, 119. 

Dionysus, “ Plato” head, 47 ; “‘ Narcissus,”’ 131. 

Doedalsas, 17, 19, 109. 

East Greek reliefs, 124. 

Egypt, 66, 67, 91. 

Epicurus, 16, 105. 

Eros, terracottas, 9, 111, pl. 1; sleeping, 23, 114, pl. 41b; drawing 
bow, 95; in group, 38, 125, pl. 63 ; with Psyche, 119. 

Erotic groups, 38, 125, 135, pl. 63; 110, 117, 135. 

Etruscans, 51-53, 55-605. 

Euripides, 93 ; relief, 46, 131, pl. 80. 


9 


LATE RY G RSE ERTS CULL Pit U RE 


Euthydemus, 21, 79, 113, pl. 37a. 

Eutychides, 16, 17. 

Female figures: draped statue, 12, 95, pl. 9a; girl from Anzio, 16, 
1043; girl with bird, 17, pl. 21 ; seated girl, 17, 103, pl. 23a; in 
transparent drapery, 29, 49, 120, 122, 128, pls. 48c., 50 ; caryatids, 
39, 129, pl. 65b, 43, 96, pl. 70; drunken old woman, 41, 118 ; 
old woman, 41, 130, pl. 68c ; archaistic dancer, 44, pl. 71 ; statues 
of stock types, 35, 44, 122, 123, pls. 72, 73 ; mourner from Trent- 
ham Hall and similar statues, 46, 123 ; dancing girls from 
Herculaneum, 47. 

Female head, from Alexandria, 15, 103, 134, pl. 17b3 archaistic, 47, 
pl. 81a; from Chios, 12, 94, pl. 6; from Cyzicus, 12, 95, 134, 
pl. 4b; ‘“‘ Amastris,” “ Olympias,” 12, 95, pl. 8; old woman, 41, 
130, pl. 68a ; from Pergamon, 28, 116, pl. 44. 

Female nudes, 6, 7. 

Fighting Gaul, 22, 58, 59, 112, pl. 38; Greek, 22, 113, pl. 37b; 
soldier from Taranto, 54, 132, pl. 92a. 

Fluteplayers’ monument, 62, pl. 102. 

France, sculpture prohibited in, 51. 

Fury, 2! 112,ph 35, 

Gandharan empire, 82-86. 

Gauls, invasions of, 6, 20; Pergamene statues of, 20, 21, 22, 109, 
112, 116, 117, pls. 32, 38; in Lombardy, 52; Italian represen- 
tations of, 58, 59, pls. 94b, 96. 

Gigantomachy, from Pergamon, 25, 116, pl. 43. 

Girl from Anzio, 16, 104; with bird, 17, pl. 21; seated, 17, 103, 
pl. 23a; dancing, 28, 44, 47, pls. 45, 71; head from Chios, 12, 
94, pl. 6. 

Gold comb, 14, pl. 16a ; casket, 81 ; medallions, 94. 

Grouping, 18. 

Half-length figures, 64, 124, pl. roob. 

Harpocrates from Taxila, 85. 

Hauran ruins, 74. 

Hejaz, relief at Medain Salih in, 75. 

Heracles from Valladolid, 18, 109, pls. 25b, 26 ; bearded herms, rot. 

Hermaphrodite sleeping, 23, 114, pl. 40. 


140 


LN DEX oO Fes'U By E Crs 


Hermarchus, 105, 135. 

Hermes resting, 47, 95. 

Herod Antipas, relief from palace of, 75. 

Hiero and Philiscus (?), 55. 

Himyarites, 76, 85. 

Homer, 28, 117, 123. 

Hygieia, 98. 

Hyrcanus’ palace at Arak al Amir, 74. 

Idiot, terracotta, 9. pl. 3c. 

Imitations of fifth century sculptures, Pergamene, 44, 116. 

Invitation to dance, 18, 110, pls. 30b, 31. 

Isis, 120. 

Japan, 89, 90. 

eason, 12,95, pl. 11a. 

Kannon, statuette, go, pl. 112b. 

Khotan, 83, 86. 

Korea, 89. 

Krahmer, Dr. G., quotation from “ Sti/phasen,” 36. 

Kuanyin, statue, 90, pl. 111b. 

Kushan empire, 82-86. 

Lacrateides relief, 35, 46, 48, 124, pl. 79. 

Landscape reliefs, 9, 24, 29, 49, 50, 114. 

Laocoon, 40, 130, pl. 67. 

Local styles, see Reliefs. 

Lombardy, 52. 

Lysippus, 14, 95. 

Maenad of Scopas, 12, 95, pl. gb. 

Magic, 70, 71. 

Mahdia ship, 130. 

Male figures: youth fastening sandal, 12, 95, pl. 11a; statuette from 
Cnidus, 13, 97, pl. 11b 3 crouching youth from wreck, 14, 97, 
134, pl. 153 youth from Subiaco, 14, 49, 97, 134, pl. 143 portrait 
from Delos, 34, 121, pls. 57, 58a; author, 35, 122, pl. 61; boy 
from Tralles, 44, 125, pls. 74, 753 orator, 59, pl. 97b. 

Male heads: boy, 14, 95, pl. 10a; philosopher, 15, 110, pl. 18a; 
bearded God, 15, 110, pl. 17a; bronze boxer from Olympia, 16, 


141 


LAT E.R GREEK SiC Ur Le Pt URE 


101, pl. 16b; Berber, 18, 109, pl. 27; prince, 18, 109, pl. 24b ; 
portraits from Delos, 34, 121, 122, pls. 56b, 57, 58a ; from Athens, 
34, 35 38, 123, pls. 59, 64 3; peasant, 41, 130, pl. 68b; portrait 
from Palestrina, 63, pl. 103. 

Marsyas, 18, 22, 109, 117, pls. 29, 39. 

Mathura, 82. 

Meleager, 11, pl. 4a. 

Menander, 15, 98, pl. 18b 3; so-called, 35, 122, pl. 61. 

Menelaus, 21, 112. 

Meroe, 69. 

Metrodorus, stela of, 23, 115, pl. 42 ; the Epicurean, 105. 

Mithradates VI, 122. 

Muses, Vatican, 17, 107; of Philiscus, 116. 

Nabateans, 74-76, 85. 

“* Narcissus,”’ 48, 131. 

Negro boy, 9, pl. 3a. 

Neo-Attic, reliefs or vases, 48, 49, 127, 128, 130, pls. 83-87. 

Nike of Samothrace, 13, 97. 

Niobids, 13, 14, 18, 97, 134, pls. 12, 13. 

Nymphs dancing in caves of Pan, 105. 

Ofellius, 33, 119. 

Old peasant, 41, 130, pl. 68b ; woman, 9, 41, 118, 130, pls. 3b, 68b, c ; 

Palestine, 75. 

Palmyrene sculpture, 73, pls. 104a, 1072. 

Pan statue, 16, 102, pl. 20a ; in erotic group, 38, 125, pl. 63 ; teaching 
boy to play, 102. 

Panathenaic vases, 42. 

Parthian coins, 72, pl. 106a ; Parthians, 71, 77, 81, 82. 

Pasiteles, 47. 

Persephone, 30, 134, pl. 56a. 

Persia, 66, 70. 

Petra, 75, 85. 

Philetaerus, 108. 

Philiscus, 116. 

Phoenicia, 68, 69 ; Phoenician stelz, 69, 133, pl. 104b. 

Poseidippus, 105. 


142 


INDEX OF SUBJECTS 


Poseidonius, 122. 

Praxiteles’ sons, 15, 134. 

Ptolemy I, 99, (?), 98, 100; II, 106; IV, 113. 

Pyrrhus (?), 106, 109. 

Reliefs, Albanian local style, 1143; N. Apulian, 54, 131, pl. gob; 
S. Apulian, 54, 132, pl. 92a; “ Campana,” 131 ; Chiot, 23, 115, 
pl. 42; Landscapes, 9, 24, 29, 49, 50, 114, pls. 41a, 86b ; Roman 
style, 47, 48, 65. 

Republican portraits, 33, 63, 64. 

Russia, metal-work from, 15, 78, pl. 16a. 

Samothrace, Nike of, 106. 

Sanchi gates, 82. 

Satyr boy, 17, 110, pl. 22b; inviting nymph to dance, 18, 110, pls. 
30b, 31a; Barberini, 21, 112, 135, pl. 34b; dancing, bronze, 
22-5114); torso, 28, 117, pl. 47.5 turning to look at tail, 110; 
playing flute, 114; fighting, 114 porphyry heads of, 121; in 
erotic groups, 110, 117, 135, carrying Dionysus, 101. 

Scylla, 117. 

Scythians, 14. 

Seals, Babylonian, 70. 

Seleucus I, 98. 

** Seneca,” 28, 117, 135, pl. 48a, b. 

Serapis, 107. 

Siberia, 15. 

Sicily, 55, 133, 134. 

Silenus carrying infant Dionysus, 16, 101, pl. 19; head, 20, 110, 
pl. 34a ; as support, 39, 125, pl. 65a. 

Sophocles, 94, 109. 

Spain, sculpture in, 51. 

Stucco reliefs, 49, pls. 86b, 87b. 

Subiaco boy, 14, 48, 97, 134, pl. 14 5 head of Ariadne, 48, pl. 81b. 

Sudan, 68. 

Tarentine art, 53, 132, 133, 134. 

Telephus frieze, 28, 118, pl. 49. 

Terracottas, manufacture of, 2 5 of Eros, 9, 111, pl. 1 5 comic, 9, pls. 2, 


33; mould 54, 132, pl. 92b; Etruscan, 58, 59, 61, 63, 126, pls. 
143 


LATER GREE RUS C ULiP Tt Ul Ree 


94b, 97a, 100a; Italian votive heads, 63; from Babylonia, 70, 
71, pl. 105 ; Parthian, from palace at Pataliputra, 77. 
Theophrastus, 98. 
‘Thespis, 135. 
Throne, carved, 53, 131, pl. gt. 
Toscanella sarcophagi, 57, pls. 93, 94a, 95. 
‘Transjordania, ruins at Arak al Amir, etc., 74. 
‘Transparent drapery, 29, 49, 120, 122, 128. 
Trentham Hall statue, etc., 48, 123. 
Tryphon (?), 123. 
Turbaned youth, 38, 123, pl. 64. 
Urns, Etruscan, 58, 60, 61, 62, pls. 96, 98-101. 
Venus Medici, 17, 108 ; of Milo, 35, 126. 
Victory, of Samothrace, 13, 97 ; stucco, 49, pl. 87b. 
Volumnii, tomb of, 60, 133, pl. 98. 
Zeno, 105. 
Zeus from Pergamon, 29, 119, pl. 52. 


144 


PNDEX OF BLACES AND MUSEUMS 


(Private collections grouped together at the end). 


AIX EN PROVENCE. 
Museum. Head of Diogenes (?), 100. Head of young centaur, 113. 


ALEXANDRIA. 

Greco-Roman Museum. Bearded head of god, 15, 67, 100, pl. 17a. 
Head of goddess, 15, 67, 103, 134, pl. 17b. Head of boy, 17, pl. 22a. 
Serapis, 107. Heads of Gauls, 112. Statue from Canopus, 124. 
ARAK AL AMIR, TRANSJORDANIA. 


Ruin with frieze of lions, 74. 


AREZZO. 
Museum. Relief of drunken Silenus and nymph, 118. 


ATHENS. 

Monument of Lysicrates, frieze, 94. “Theatre, supporting figures of 
Silenus, 39, 125, pl. 65a. “Tower of the Winds, reliefs, 130. 

Acropolis Museum. Head of Alexander, 12, 94, pl. rob. 

Small Acropolis Museum. Relief of Pan, 98. Relief, 102. Basis 
with athletes, 105. Pyrrhic dancers, 128. Relief, 128. 

National Museum. Head of Ariadne, from S. Slope, 13, 14, 97, 
pl. roc. Crouching boy, from Cythera wreck, 14, 97, 134, pl. 15. 
Bronze head of boxer, 16, 101, pl. 16b. Fragments by Damophon, 
30, 121, pls. 54, 55. Portrait statue, 34, 121, pls. 57, 58a. Bronze 
head from Delos, 34, 121, pl. 56b. Head of young man, 34, 123, 
pl. 59a. Head of old man, 35, 123, pl. 59b. Head of Cotys, 35, 128, 
pl. 62b. Lady from Delos, 35, 44, pls. 72, 73. “Turbaned head, 38, 
i293, 0)264. Hrotic group, 38, 125, 135, pl. 63. Relief of 330-329, 
96. “Eubouleus,” 97. Female head, 97. Satyr on tiptoe, 97. 
Relief of Euphron, 98. “Themis by Chaerestratus, 102. Basis from 
Mantinea, 102. Children from the Ilissus, 104. Funerary relief, 
from near Eleusis, 104. Reliefs of nymphs dancing in cave of Pan, 105. 
Head of Metrodorus, 105. Relief of Helicon, 108. Term. from 
Rhamnus, 111. Figures resembling Menelaus and Patroclus, 112. 
Sleeping maenad, 114. Fighting man from Delos, 116. Odyssey by 


145 


LAT E Ro GREE KS 'CoU Leer Rae 


Jason, 117. Frieze from Lamia, 121. Head of Zeus from Aegira, 
121. Asclepius from Piraeus, 121. Head from Odeum (Ariobar- 
zanes ?), 122. Bronze head from wreck, 123. Head of old man, 123. 
Head of young man (Antiochus Grypus?), 123. Aristonoe, 123. 
Statuette from Crete, 124. Female half-length, 124. Poseidon of 
Melos, 124. Head of Hermes from Pharsalus, 125. Youth from 
Eretria, 126. Nike (by Euboulides?), 126. Artemis from Delos, 
126. Head of Hygieia from Aegion, 126. Aphrodite of Aphrodisias, 
127. Head of Athena (by Euboulides ?), 127. Silver from Thessaly, 
127. Pair of male and female portrait heads, 128. Bronze youth from 
wreck, 128. 


BABYLON. 
Museum. Ornament from Theatre, 69. Female statuette, 71. 


BASEL. 
Art Museum. Female head, 129. 


BEHISTUN. 
Rock-carving of Gotarzes, 72. 


BERLIN. 

State Museums. Stela of Metrodorus, 23, 115, pl. 42. Giganto- 
machy, from Pergamon, 25, 116, pl. 43. Sculptures from Pergamon 
in style of Gigantomachy, 28, 44, 116, pls. 44, 45. Telephus frieze, 
28, 118, pl. 49. Stela from Smyrna, 34, 123, pl. 58b. Stela from near 
Athens, 35, 123, pl. 60. Archasistic sculptures from Pergamon, 44, 
116, pls. 45, 71. Portrait head from Palestrina, 63, pl. 103. Praying 
boy, 95. “Iwo heads from Pergamon (Lysimachus ?), 98. “Terracotta 
medallion from Corinth, 100. ‘Triton, 101, Herm of Pan, 101. Girl 
from Tanagra, 104. Nikeso, 105. Statuette of poet, 106. “ Nio- 
bids,” 107. Bronze satyr from Pergamon, 112. Satyr head from 
Magnesia, 112,. Head from Pergamon (Attalus I ?), 113. Altar 
from Magnesia, 113. Head of old centaur, 113. Frieze of labours 
of Heracles, from Pergamon, 115. Frieze from Magnesia, 115. “Torso 
of god or king, 116. Male torso from Magnesia, 116. Fragments 
from Magnesia, 118. Frieze from Priene, 119. Queen Apollonis (?), 
11g. Statues from Pergamon,119. Fragments of Zeus from Magnesia 
120. Headless statue from Priene, 122. Prometheus relief, 122. 


146 


INDEX OF PLACES AND MUSEUMS 


Part of bronze female statue, 123. Statuettes from Priene, 125. 
Reliefs from Taranto, 132. ‘Terracotta heads from Taranto, 132. 
Boy from Taranto, 132. Relief from Smyrna, 132. 

Museum fiir V élkerkunde. Gandharan sculptures, 82, 84, pls. 109b, 
110. Metopes from Troy, 116. 


BOLOGNA. 

Civic Museum. ‘Verracottas from Sassoferrato, 59, 126, pl. 94b. 
Satyr with boy Dionysus, ror. 

BOSTON. 

Museum of Fine Arts. ‘Terracottas from Eretria, 9, 111, pl. 1. 
Terracotta idiot, 9, pl. 3c. Head from Chios, 12, 94, pl. 6. Head 
of Arsinoe, 21, 67, 113, pl. 36. Head of Aphrodite, 45, 126, pl. 77. 
Relief from Ceglie, 54, 131, pl. gob. Head of a goddess, 94. Heads 
of (Capitoline) Aphrodite, 95. Aphrodite on bird, 97. Female 
torso, 106. Head of Ptolemy IV, 113. Head of Homer, 123. 
Female head (No. 54), 134. 

BRUSSELS. 

Cinquantenaire Museum. Head of priest from Seleucia-on-Tigris, 
69. Himyarite head, 76, pl. 107b. Head of barbarian, 113. “Torso 
of Aphrodite, 126. Female head, 129. ‘Terracotta female bust, 129. 
BUCHAREST. 

National Museum. Satyr of Invitation group, 110. 

BUDAPEST. 

National Museum. Female torso, 98. “Tyche of Antioch, 103. 
Female statuette from Thasos, 103. Dancing girl, 120. Relief of 
hoplites and cavalry, 132. 

CAIRO. 

Museum of Antiquities. “Terracotta satyr with skin, 112. Head of 

Gaul, 116. 
CAGLIARI. | 

Museum. Gravestone, 49, pl. 89. 
CALCUTTA. 

Indian Museum. Sculptures from Bharhut, 80, pl. 10oga. Railing 
from Buddh Gaya, 81, pl. 108c. 


147 


LVAVE EeRS GREE ke oeC ULE Pai Une 


CAMBRIDGE, ENGLAND. 
Fitzwilliam Museum. Caryatid from Eleusis, 129. 


CAMBRIDGE, MASS. 
Fogg Museum. Head of woman, 12, 95, pl. 8. 


CAPUA; 
Museo Campano. Votive figurines, 133. 


CARTHAGE. 
Musée Lavigerie. Sculptures, 51, 52, 131, pl. goa. 


CARYSTUS, GREECE. 
Relief of athletes, 105. 


CHERCHEL. 
Museum. Female head, 97. 


CHICAGO. 

Art Institute. Chinese stela, 88, pl. 111a. Chinese head, 88, pl. 
12a. 

Field Museum. Bone carving, 64, pl. 1oob. 


CLEVELAND, OHIO. 
Museum. Female Head, 1209. 


CONSTANTINOPLE. 

Ottoman Museum. Marsyas, 18, 110, pl. 29. Head of Alexander 
from Pergamon, 28, pl. 46a. Zeus, from Pergamon, 29, 119, pl. 52. 
Female statue from Magnesia, 29, 120, pl: 50. Head of Athena from 
Tralles, 29, 121, pl. 53. Caryatid from Tralles, 43, 96, pl. 70. Boy 
from Tralles, 44, 125, pls. 74, 75. Relief of Euripides, 46, 131, pl. 80. 
Alexander from Magnesia, 94. Alexander Sarcophagus, 97. Head of 
Alexander from Cos, 100, 135. Relief with head of Pan, 101. Stela 
of Diogenes from Imbros, 115. Frieze from Magnesia, 115. Female 
statue with Philiscus signature, 116. Metopes from Troy, 116. Head 
of Zeus from Troy, 116. Stela from Rhodes, 124. Relief of sacrifice, 
124. Statuettesfrom Priene,125. Apollo from Tralles,125. Bronze 
youth from Tarsus, 126. Small female head from Athens, 126. Male 
portrait head from Cyme, 128. Statues of women from Magnesia, 128. 
Female head from Magnesia, 129. Nymph from Tralles, 129, 135. 
““Niobid ” from Leptis, 129. Girl from Ak Shehir, 130. Frieze 


148 


INDEX OF PLACES AND MUSEUMS 


from Lagina, 130. Reliefs from Miletus, 130. Sculptures from 
Cyme, 130. 
COPENHAGEN. 

National Museum. Head of Chrysippus, 113. 

Ny Carlsberg Glyptotek. Pompey, 35, pl. 62a. Stela of Baalyaton, 
69, pl. 104b. Artemis and Iphigenia, 95. Relief of Artemis Bendis, 
etc., 96. Aeschines, 96. “Ptolemy I,” 98. Cybele, 103. Female 
statuette, 103. Poet, 106. Head of poet, 106. Pyrrhus (?), 106. 
Diademed head, 111. Basalt head of satyr, 112. Head of youth 
sucking, 112. Fighting giant, 114. Fighting satyrs, 114. Head 
like “ Dying Alexander,” 116. Porphyry head of satyr, 121. Head 
of Poseidon, 125. Youth from Epidaurus, 129. Hermachus, 135. 

Thorvaldsen Museum. Cast of male portrait head, 97. “Tyche of 
Antioch, 103. 


CORFU. 
Museum. Menander, 98 


CORINTH. 
Museum. Frieze from Theatre, 134. 


COS. 
Frieze, 115. Head by sons of Praxiteles, 134. 


DELOS. 

On the site. Billienus, 122. Dioscurides and Cleopatra, 60, 122. 
Monument of Carystius, 104. Ofellius, 33, 119. 

Museum. Head of Gaul or giant, 117. Portrait heads, 121, 122. 
Athlete head, 122. Female portrait head, 123. Relief, 124. Cybele, 
124. Poseidon, 124. Head of Gaul, 124. Draped herm, 124. 
Herm of young satyr, 125. Silenus statues, 125. Apollo with foot on 
Galatian shields, 125. Dionysus, 125. Female head, 127. Relief 
head of Phoebe, 127. Bust of veiled women, 127. Bronze relief, 127. 


DELPHI. 

Museum. Agias, 95. Dancing girls, 95. Head of Apollo, 96. 
Bearded head, 99, 135. Frieze from theatre, 115. Frieze of Aemilius 
Paulus, 118. Thessalian in cloak, 125. Circular altar, 128. 


149 


LATER GREEK SCULPTURE 


DRESDEN. 

Albertinum. ‘Terracotta of old woman, 9, pl. 3b. Head from 
Cyzicus, 12, 95, 134, pl. 4b. Maenad of Scopas, 12, 95, pl. 9b. Head 
of (Capitoline) Aphrodite, 12, 95, pl. 7 b. Pan, 16, 102, pl. 20a. 
Head of muse, 17, 107, pl. 24a. Head of nymph, 19, 110, pl. 31b. 
Head of old peasant, 41, 130, pl. 68b. Head of old woman, 41, 130, 
pl. 68a. Aphrodite and triton, 101. Satyr and hermaphrodite, 110, 
135. Statuette of Asclepius, 125. Head of Pan, 125. Chigi 
Athena, 127. 


ELEUSIS. 
Museum. Relief of Lacratides, 35, 46, 124, pl. 79. Caryatid, 
39, 129, pl. 65b. Relief of Demeter and Persephone, 124. 


EPINAL. 


Museum. Bronze hermaphrodite, 110. 


FLORENCE. 

Loggia det Lanzi. WMenelaus carrying Patroclus, 21, 121. Ger- 
mania (‘‘ Thusnelda ”’), 48. 

Archeological Museum. Etruscan urn, 58, pl. 96. Bronze orator, 
59, pl. 97b. Satyr carrying boy Dionysus, 101. Sleeping Ariadne, 
103. Seated Hermarchus (“Sophocles”), 105. Satyr turning to tail, 
110. Satyr playing flute, 114. 

Pitti Palace. Sleeping Ariadne, 103. 

Uffizi. Niobids, 13, 14, 18, 97, 134, pl. 13. Knife-grinder, 18, 
110, pl. 30a. Ara Pacis slab, 48, pl. 82. “Ariadne,” 97. “ Nurse 
of Niobids,” 108. Medici Verius, 17, 108. Wrestlers, 112. Head 
resembling Chrysippus, 113 “Dying Alexander,” 116. ‘Torso 
of satyr,\1197.5, > Narcissus, 12120 a 
GENEVA. 

Archeological Museum. Head of Alexander, 134. 

HAGUE. 

Scheurleer Museum. ‘Terracotta mould and relief of soldier, 54, 

Igte DO, 
JERUSALEM. 
Tombs in Valley of Jehoshaphat, 75. 


150 


INDEX OF PLACES AND MUSEUMS 


KLEITOR, GREECE. 
Relief of Polybius, 121. 


LECCE, 

Hypogeum, 132. 

Museum. Sculptures from Vaste, 132. 
LENINGRAD. 

Hermitage. Comb from Solokha, 14, pl. 16a. Head of Patroclus, 
OT 2: 


LEY DEN. 
Museum of Antiquities. Portrait head, 18, 109, pl. 24b. Colossal 
male head, 121. 


LONDON. 

British Museum. Head of Berber, 18, 109, pl. 27. Apollo from 
Cyrene, 45, 125. Mourning woman from Trentham Hall, 46, 123. 
Heads of Hiero and Philistis (?), 55. Alabaster urn, 61, pl. ror. 
Bronze head of Aphrodite from Armenia, 69, 120. Greco-Baby- 
lonian statuettes, 71, pl. 105. Amaravati Tope, 82. Nicocleia, 94. 
Bronze Alexander wearing aegis, 94. Artemisium of Ephesus, 94. 
_Alexandroid head, 99. Head of Alexander, 100. Bronze Silenus, 
101. Female statuette, 103. Female statue from Macedonia, 104. 
Dionysus from monument of Thrasyllus, 106. Stela of Numenius, 
108. Arundel Sophocles, 109. Bronze Aphrodite Pourtalés, 110. 
Silver boy and goose, 111. ‘Triton from Delos, 116. Frieze from 
Priene, 119. Boys quarrelling, 120. Herm of Lentulus Marcellinus, 
122. Apotheosis of Homer, 124. Athena from Cyrene,127. Head- 
less girl from Priene, 127. 

LYCOSURA, GREECE. 

Museum. Fragments by Damophon, 30, 121, pl. 54a. “Terra- 

cottas with animal heads, 121. 
LYONS. 

Museum. Mourning female head, 118. 
MADRID. 

Prado. Fragment of sleeping Ariadne (?), 46, 126, pl. 78. Head 
of Alexander as Helios, 100. Satyr carrying boy Dionysus, 101. 


They 


LeAyT; BERS GtROE ERs C1 U (Rae Uekie 


Bearded head, 106. Muses, 107. Male portrait head, 111. Satyr 
with wine-skin, 112. 
MARSALA. 
Museum. Greco-Pheoenician stela, 133. 
MEDAIN SALIH, ARABIA. 
Relief of lions, 75. 
METZ. 
Museum. Female statue, 119. 


MUNICH. 

Glyptothek. Silenus carrying infant Dionysus, 16, 101, pl. 19. 
Girl with dove, 17, pl. 21. Bronze head of satyr-boy, 17, 110, pl. 
22b. Barberini satyr, 21, 112, 135, pl. 34b. Sacrifice relief, 29, 
114, pl. 41a. Basis of Ahenobarbus, 40, 130, pl. 66. Drunken old 
woman, 41, 118. Greco-Egyptian portrait, 67, pl. 104c. Alexander 
Rondanini, 94. Head of (Capitoline) Aphrodite, 95. “ Ilioneus,” 
97. Alexandroid head, gg. 

NAPLES. 

National Museum. Head of Silenus, 20, 110, pl. 34a. Dancing 
satyr, 22, 114. “Seneca,” 28, 117, pl. 48b. Torso of satyr, 28, 
pl. 47. Resting Hermes, 47, 94. Bearded Dionysus (“‘ Plato”), 47. 
Dancing girls, 47. “ Narcissus,” 48, 131. Neo-attic relief, 49, 
pl. 86a. Archidamus, 94. Aeschines, 96. Demetrius Poliorcetes (?), 
96. Helmeted head, 96. Bronze wrestlers, 97. Seleucus I (?), 98. 
““ Alexander” on horse, 99. Bronze bust called Ptolemy or Lysi- 
machus, 100. Bronze Silenus,.1o1. Archimedes (?), 106. Bronze 
portrait-head, 106. Aphrodite “ Kallipygos,” 107. “ Niobid,” 107. 
Philetaerus, 108. Pyrrhus (?), 109. Diademed head, 109. Head 
of ‘Thespis with corkscrew hair, 109, 135. Antiochus II (?), 111. 
Satyr with wine-skin, 112. Drunken satyr, 112. Sleeping satyr, 112. 
** Aratus,” 113. Satyr playing flute, 114. “ Berenice,” 114, 135. 
Diademed head, 115. Head resembling “Seneca,” 117. Farnese 
Bull, 120. Bronze Nike, 120. Isis, 120. Poseidonius, 122. Relief 
of young man and courtesans, 128. Female head, 129. Cuirass, 133. 
NARA. 

Horyuwjt. Bronze statuette of Kannon, go, pl. 112b. Frescoes, 90. 


ap 


INDEX OF PLACES AND MUSEUMS 


NEW YORK. 

Metropolitan Museum. ‘Terracotta actors, 9, pl. 2. Statuette of 
boxer, 11, 94, pl. 5. Female statue, 12, 95, pl. 9a. Head of boy, 12, 
95, pl. 10a. Small bearded head, 15, 100, pl. 18a. Seated Heracles, 
18, 109, pls. 25b, 26. Gaul from Cervetri, 22, 112, pl. 38. Head of 
Persephone, 30, 134, pl. 56a. Old woman, 41, 130, pl. 68c. 
Archaistic head, 47, pl. 81a. Neo-Attic vase, 48, 128, pl. 83. 
Kuanyin, 88, pl. r11b. Small head of girl, 94. Male head from 
Talysus, 97. Silver Pan, ror. Hermarchus (?), 106. Fighting 
satyr, 114. Sleeping Eros, 114. Portrait statue by Zeuxis, 1109. 
Female head from Rome, 120. Relief from Canosa vase, 131. 
“ Anstippus,” 134. Head of Chrysippus, 135. 

NIMES. 

Maison Carrée. Ganymede, 97. 
NIMRUD DAGH, TURKEY. 

Monument of Antiochus, 73, pl. 106b. 
OLYMPIA. 

Museum. Restorations of west pediment, 121, 135. 
OSLO. 

Museum. Olympiodorus, 99. 
OSTIA. 

Museum. Nereid, 95. 

OXFORD. 

Ashmolean. ‘Yerracotta negro boy, 9, pl. 3a. Head of Demosthenes, 
16,105, pl.20b. Femalestatue,120. Athlete head,122. Sepulchral 
female statues, 128. 

PALAZZOLO ACREIDE, SICILY. 

Rock sculptures, 55, 133. High relief, 133. 


PALMYRA. 
Serat. Family group, 73, pl. 104a. 
PARIS. 


Louvre. “‘ Jason,” 12, 95, pl. 11a. Nike of Samothrace, 13, 97. 
Girl by Eutychides, 17, 103. Crouching Aphrodite, 17, 109, pl. 25a. 
Head of satyr from Vienne, 19, 110, pl. 31a. Borghese Warrior, 35, 


s 153 


LATER GREEK SCULPTURE 


124. Venusof Milo, 35,126. Base of Ahenobarbus, 40,130. Arch- 
aistic relief of Seasons, 43, pl. 69. Palmyrene bust, 73, pl. 107. 
Alexander Azara, 94. Alexander wearing aegis, 94. Relief of lion 
hunt, 96. “Inopus,” 100. Head of Heracles, 100. Silenus carrying 
infant Dionysus, 101. Female statue, 102. Votive relief, 104. 
Head of poet, 106. Artemis of Versailles, 106. ‘“* Niobid,” 107. 
Antiochus III (?), 113. Centaur, 113. Frieze from Magnesia, 115. 
Zeus, 119. Head of Heracles (Mithradates ?), 122. 


PARMA. 
Museum. Bronze fighting man, 113. 
PERGAMON. 


Museum. Head of girl carrying Wee 126, Fragments of 
female statue, 126. Female head, 129. 

PERUGIA. 

Tomb of Volumnii, 60, 133, pl. 98. 
PHILADELPHIA. 

University of Pennsylvania Museum. Menander, 15, 98, pl. 18b. 
PIRAEUS. 

Museum. Stela, 96. 

PROVIDENCE. 

Rhode Island School of Design. Statuette, 13, 97, pl. 11b. Torso 
of Dionysus, 95. 

REGGIO DI CALABRIA. 

Hypogeum, 133. 

ROME. 

Pasquino, 112. 

Villa Albani. Neo-Attic reliefs, 49, pls. 84, 85. Diogenes (?), 100. 
Fighting satyr, 114. 

Antiquarium Communale (contents in transfer to Museo Celio). Flute- 
players’ monument, 62, pl. 102. Head from battle-group, 108. 
Satyr and hermaphrodite, 110, 135. 

Barracco Museum. Head of old man, 106. Head of old centaur, 
113. Female head, 118. 

Borghese Palace. Amazon, 113. 


154 


INDEX OF PLACES AND MUSEUMS 


Villa Borghese. Satyr on dolphin, 97. Satyr playing flute, 114. 
Amazon fighting two soldiers, 115. 

Capitoline Museum. Aphrodite, 12, 95, pl. 7a. Dying Gaul, 20, 
111, pl. 32. Centaurs, 22, 113. Drunken old woman, 41, 118. 
Boy pulling out thorn, 47. Head of Alexander as Helios, 100. Head 
of Dionysus (“ Ariadne ”’), 108. Head of Marsyas (?), 110. Satyr 
holding grapes, 110. Juno Cesi, 118. “‘ Innocentia,” 120. Female 
head ascribed to Damophon, 121. Silenus, 125. Apollo, 125. Head 
of Apollo, 125. 

Palazzo det Conservatori. Girl by Eutychides, 17, 103, pl. 23a. 
Sleeping Eros, 23, 114, pl. 41b. Marsyas, 22, 109, pl. 39. Head of 
centaur, 28, 116, pl. 46b. Female statue, 107. Herm of bearded 
Heracles, 101. Satyr playing flute, 114. Fighting satyrs, 114. 
Sandal, 121. Colossal Heracles, 122. 

Corsini Palace. "Vhrone, 53, 131, pl. gt. 

Doria Gallery. Young centaur, 113. 

Villa Giulia. ead from Falerii, 58, pl. 97a. Urn from Chiusi, 
61, pl. 1002. 

Lateran, Profane Museum. Boys quarrelling, 120. Head of Muse, 
1209. 

Villa Medici. UHead of Meleager, 11, pl. 4a. 

National Museum (Terme). Boy from Subiaco, 14, 48, 97, 134, 
pista.) Girl from Anzio, 17, 104. Bronze boxer, 18, 108, pl. 28. 
Head of Dying Asiatic, 20, 111, pl. 33. Ludovisi Fury, 21, 112, pl. 
35. Sleeping hermaphrodite, 23, 114, pl. 40. “‘Seneca,” 28, 117, 
135, pl. 48a. Bronze statue of Demetrius I, 29, 34, 119, pl. 51. 
Aphrodite from Cyrene, 45, 126, pl. 76. Head of Sleeping Ariadne, 
48, 131, pl. 81b. Stucco ceiling, 49, pls. 86b, 87b. Head of foreigner 
(?), 99. Ludovisi Muse, 107. Head resembling supposed Pyrrhus, 
109. Ludovisi Gaul, 109. Rape, 115, Head of Antiochus IV (?), 122. 

Torlonia Museum. Head of Euthydemus, 21, 79, 113, pl. 37a. 

Vatican. ‘Yyche of Antioch, 16, 17, 102. Sleeping Ariadne, 17, 
Posmesviuses, 17, 107, pl. 23b. “ Menander,” 35, 122, pl. 61. 
Laocoon, 40, 130, pl. 67. Statuette of Demeter (?), 49, 128, pl. 88. 
Apoxyomenus, 95. Selene, 98. Alexandroid head (Lysimachus or 
Demetrius Poliorcetes ?), 99. Silenus carrying infant Dionysus, 101. 


ih) 


LAVTLE R GRIESE Ss: CoUsL Pou Ree 


? 


Satyr with boy Dionysus on shoulder, ro1. ‘“‘ Euterpe,” 102. Torso 
of river-god, 103. Poseidippus, 105. Silenus, 110. Satyr holding 
grapes, 110. Head of Menelaus, 112. Head of sea-centaur, 117. 
Belvedere torso, 117. Triton, 117. “ Urania,” 118. Porphyry 
head of satyr, 121. Head of Pan, 125. Pyrrhic dancers, 128. Sea- 
centaur carrying woman, 130. 
SAMOS. 

Museum. Small head of Aphrodite, 126. 
SANCHI. 

Gates of stupa, 82. 
SARNATH. 

Museum. Capital with lions, 77, pl. 108a. Capital with horseman, 
79, pl. 108b. 

SMYRNA. 

Evangelical School. Sleeping Eros, 114. Female head from Tralles, 
118, 135. Female torso from Philadelphia, 127. 

SPLIT (SPALATO). 

Museum. Female head, 97. 

SUSA, ITALY. 
Arch of Augustus, 53, 131. 
SYRACUSE. 

Museum. WHead of Zeus, 55, 117, 133. | Draped Aphrodite 
(““ Nymph ”’), 103, 135. Lower part of Demeter, 120. Sculptures, 
probably Imperial, 133 ; Hellenistic, 134. 

TAORMINA. 

Museum. Female head (“ Apollo”), 129. 
TARANTO. 

Museum. Bearded head, 132. Head of Artemis and other 
sculptures, 134. 

TAXILA. 

Museum. ‘Terracottas, 84. Harpocrates, 85. 
TEGEA. 

Museum. Female statue, 29, 120, pl. 48c. Female statue, 120. 
TEOS. 

Frieze, 115. 


156 


INDEX OF PLACES AND MUSEUMS 


THERA. 

Rock-cut head of Artemidorus, 109. 

Museum. Head of Agrippina, 38. Head of Ptolemy i, 99. Female 
statues, 120, 123. Male portrait head, 122. Small head of youth, 
123. Head of young man, 123. ‘Terracottas, 123. 

TIBERIAS. 

Relief of lions, 75. 
SURIESTE. 

Civic Museum. ‘Yerracotta reliefs from Taranto, 132. 
meee), LIBYA. 

Museum. Dionysus leaning on a satyr, 125. 

TUNIS. 

Alaom Museum. Cuirass, 52, 133. Herm by Boethus, 119. 

Objects from Mahdia wreck, 130. 


TURIN. 

Museum. Male head, go. 
VALETTA. 

Museum. Male head, 121. 
VENICE. 


Archaological Museum. Dedication of Attalus, wounded Greek, 
22, 113, pl. 37b. Odysseus, 101. 

VICENZA. 

Museum. Female statue, 102. 
VIENNA. 

Este Collection. Bearded head, 109. 

Kunsthistorische Sammlung. _Amazonomachia sarcophagus, 96. Head 
of Poseidon, 101. Relief of nymphs dancing in cave of Pan, 105. 
Statues from Samothrace, 106. Nike from Samothrace, 108. Bronze 
hermaphrodite, 110. Stela of Parmeniscus, 114. Red head of satyr, 
121. “Kore” head from Tralles, 126. 

Museum fiir Kunst und Industrie. "Terracotta Niobids, 132. 
VIENNE. 

Boys quarrelling (now destroyed), 120. 

VOLO. 
Museum. Votive relief, 104. 


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LAC TVE Re GaRe bas BS CU sb Pau Rae 


VOLTERRA. 
Guarnacct Museum. Urn, 61, pl. 99. 


WASHINGTON. 


Freer Museum. Roman statuettes from China, 89. 


ZAGREB. 

National Museum. Marsyas, 109. Relief of drunken Silenus and 
nymph, 118. 
PRIVATE COLLECTIONS. 

Arndt : Terracotta reliefs from Taranto, 132. 

At Berlin : Satyr heads from Persia, 70. 

Blanchet : Bronze hermaphrodite, 110. 

Dubois : Bronze hermaphrodite, 110. 

Goldman : Female bust, 95. 

Hiller von Gaertringen : Frieze of Hieronymus, 118. 

At Houghton Hall : Head of Dioscurus, 95. Lysimachus (?), 99. 
Head of Alexander as Helios, 100. 

Leconfield : Head of Menelaus, 112. 

Rockefeller : Altoviti Venus, 108. 

At Rossie Priory : Head of Alexander, 100. 

Edm. de Rothschild : Bronze Alexander, 94. 

Shear : Female head from Rhodes, 1209. 

At Spongano: Sculptures from Vaste, 132. 

Vlasto : Alabaster (Medeci) Venus, 108. 

Warocqué : Head of Goddess, 96. Head of Perseus, 122. 

At Wilton House : Group, 116. 

At Woburn Abbey : Head of philosopher, 119. 


OBJECTS OF WHICH THE PROVENANCE ALONE CAN 
BE QUOTED. 

Athens: Relief of seated poet, 114. Avlona, Pojani near: Stela, 
114. Chios: Stela, 115, 118. Egypt: Alexander as Helios (from 
Ptolemais), 100; Bust of Alexander, 100; Statuette of poet, 106 ; 
Statuette of fighting man, 113. Italy: Borghese Daphne, 108. 
Lesbos: Cybele relief, 124. Magnesia on Maeander: Stele of Olym- 
pias, 124. Mantinea: Female head, 127. 


158 


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